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v

Western Plainchant
A Handbook
DAVID HILEY

C L A R E N D O N PRESS O X F O R D 1993

Oxford

University Press, Walton Street, Oxford Oxford Delhi Bombay Lumpur Seic York Toronto (Calcutta Madras Singapore Cape

0x2 6 n p

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and associated companies in Berlin I bad an University Press

Oxford is a trade mark of Oxford

Published in the United States by Oxford University Press Inc., Xeic York t David Hiley 1993

First published 1993 Reprinted 1993 All rights reserved. So part of this publication way be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press. Within the UK, exceptions are allowed in respect of any fair dealing for the purpose of research or private study, or criticism or review, as permitted under the Copyright, Designs and Patents Act, 1988, or in the case of reprographic reproduction in accordance with the terms of the licences issued by the Copyright Licensing Agency. Enquiries concerning reproduction outside these terms and in other countries should be sent to the Rights Department, Oxford University Press, at the address above British Library Cataloguing Data ISBS Library in Publication Data

available 8 Data

0 19 816289

of Congress Cataloging

in Publication

Western plainchant: 1. Chants (Plain, ML3082.H34

a handbook / David etc.)

Hiley. criticism. 13020

Includes bibliographical references and index. Gregorian, 1992 ISBS History and dc20 8 92 1. Title. 182.3T22 0 19 816289

Typeset by Hope Services (Abingdon) Ltd. Printed in Great Britain on acid-free paper by St. Edmundsbury Press, Bury St. Edmunds

for Marjorie and Henry

PREFACE

I have been u p to L o n d o n to get the book I am w r i t i n g , out of the B r i t i s h M u s e u m . I have got a lot of it out, a n d I shall go again presently to get some m o r e ; a n d w h e n I have got it all, there w i l l be another book . . . So m a n y people were there, getting out their books. It doesn't seem to matter everything's b e i n g i n books a l r e a d y : I don't m i n d it at a l l . T h e r e are attendants there o n purpose to b r i n g it to y o u . T h a t is h o w books are made, and it is difficult to think of any other w a y . I m e a n the k i n d called serious . . . N o doubt the author of any reference book such as the present one could echo the sentiments of M i s s C h a r i t y M a r c o n , in Ivy Compton-Burnett's Daughters and Sons. A great deal of m y book is indeed got out of others, as the bibliography and references in the text make clear. What justification is there for this, and what is the purpose of the book? In the first place I wished to provide a book of reference both for those c o m i n g new to plainchant and for those needing guidance in the specialist literature. T h e book starts with the assumption, reasonable in this secular age, that many things about the liturgy and its plainchant, even quite basic matters, are unfamiliar to the reader. A t every stage in the for encounter with plainchant one comes up against from specialist everyday terminology and concepts which constitute a real obstacle. T h a t is in the nature of the subject, ecclesiastical ritual is essentially exclusive, remote experience, reserved for specially trained personnel. T o start with essentials does not mean, however, that difficulties have been avoided. I have not, I hope, confused inexperience with lack of intelligence. T h e reader will encounter here many complex problems, both those for which scholars have found solutions and others which remain obscure. I have also illustrated techniques of research and given examples, not just of the music in plainchant sources, but also of their make-up, the way they deploy their material, and their notation. T h o s e with access to well-equipped libraries will find here sufficient references to further specialist literature. But I have also tried to make the book self-explanatory, and well enough illustrated, so that it will be useful also to anyone interested in and able to read m u s i c . Such a book fulfils a need primarily because English language, Apel's Gregorian Einfuhrung in die gregorianischen Chant, Melodien of the enormous expansion of plainchant studies in the last few decades. T h e last major work of synthesis in the is now over thirty years o l d . It has not, of by Peter Wagner f r o m before the F i r s t course, been m y intention to try and replace A p e l , let alone the more comprehensive W o r l d W a r , both of which remain indispensable. But m u c h has been explored a n d discovered since their day. T h e best modern survey, the article 'Plainchant' by

viii

Preface Grove Musik Dictionary, is necessarily brief Musik in

K e n n e t h L e v y and J o h n E m e r s o n in The New S t a b l e i n h i s Schriftbild Geschichte und der einstimmigen

(but with an excellent bibliography). T h e writings of scholars such as the late Bruno and articles in Die Gegenwarttogether practically constitute a textbook on chant. But

an up-to-date one-volume work is clearly required. T h e compression and omissions entailed in such a work are the least pleasant things facing an author. F o r my own undoubted sins of omission I have tried to make amends in the bibliography, by citing literature to which I could not do justice in the main text. T h e bibliography should go some way towards being a reference tool in itself. In writing the book I tried to take into account literature up to 1990. I take this zur opportunity to mention the recent appearance of a new chant bibliography with over 4,200 items by T h o m a s Kohlhase and G i i n t h e r M i c h a e l Paucker, i n Beitrage Gregorianik, 9-10 (1990). T o one work which appeared when the m a i n text was all Oxford History

but complete, but whose contents I knew intimately, I have made no reference. I acted as co-editor with R i c h a r d Crocker of the new edition of The New of Music, i i : The Early Middle Ages to 1300 ( O x f o r d , 1989), and it was not always easy as an essential part of the chant Princead

to avoid unconscious borrowing from it. A t any rate, that volume now takes its place beside Wagner, scholar's library. Historical writing about plainchant is a relatively young p h e n e m o n o n . A b b o t M a r t i n Gerbert's De cantu praesens tempus of 1774, et musica sacra a prima ecclesiae aetate usque A p e l , and Stablein's Schriftbild

the ancestor of all musicological writing on plainchant, was

motivated by the desire to stimulate reforms in the church music of his own time. K n o w l e d g e of the past would make men conscious of the malpractices of the present: T desire . . . to lay open to view the astounding abuses in these matters, which in my opinion are the gravest in the discipline of our church' (quoted in p. l v i i i * of O t h m a r Wessely's introduction to the 1968 reprint of Gerbert's work). T h e work of the great restorers of the late nineteenth and early twentieth centuries was i m b u e d with the spirit of reform, to be achieved, as with Gerbert, through recovery of a former ideal state. W o r k which is of incalculable value for musicologists reforming efforts: the series of facsimiles Paleographie Graduel romain, musicale, sprang from these the volumes of Ij?

the studies of notational practices made by D o m Eugene Cardine

and his pupils (I cite here only a few examples from the work of monks of the F r e n c h Benedictine monastery of Solesmes). However, the fact that more than musicology was involved inevitably affected the selection of information and the use to which it was put. T h i s type of counterpoint between scholars and their material is of course c o m m o n to all scholarship. In the case of chant studies the consequences of different viewpoint and purposes can be appreciated by comparing Cardine's ' V u e d'ensemble sur le chant gregorien' and L e v y and Emerson's 'Plainchant'. T h e researches of the Benedictine fathers also had a definite practical purpose: the provision of model, definitive chant-books for use in the Roman C h u r c h . Consequently, their work was concerned with those chants sung in the R o m a n liturgy of their own time, but not with parts of the repertory, such as sequences and tropes, which were no

Preface

IX

longer admitted, though important in the M i d d l e Ages. In recent years mostly lay scholars have devoted considerable energy to those repertories, and it is perhaps not fanciful to see this partly as a reaction against the bias of earlier chant studies. In m y own case, it led among other things to a decision to transcribe all musical examples from original sources, rather than rely on modern service-books, slight though the differences between them may sometimes be. A great deal of the satisfaction gained from writing a book such as this comes f r o m sorting out problems in one's own m i n d , for, as the renowned author of a m o n o g r a p h on Lassus succinctly expressed it: ' N o t h i n g clears up a case so m u c h as stating it to another person.' Y e t even more satisfying has been the ever-increasing wonderment at the variety and richness of the chant repertory, a delight to anyone working in the area. I hope that the musical examples, at least, will help further the appreciation of these treasures. L i k e M i s s M a r c o n , I owe a considerable debt to the British L i b r a r y , but also to the A n s e l m H u g h e s L i b r a r y of Royal Holloway and Bedford N e w College, U n i v e r s i t y of L o n d o n , where I once taught; to the University of L o n d o n L i b r a r y at Senate H o u s e , and more recently to the Universitatsbibliothek of Regensburg U n i v e r s i t y , where I now teach. M a n y of m y musical examples were transcribed from microfilms, work with w h i c h has in many cases been made possible by grants from the Central Research F u n d of the University of L o n d o n . M y principal debt is to the numerous fellow chant scholars f r o m w h o m I have learned over the years, many of w h o m could have written a better book than this. It is the fate of textbooks to be used for target-practice, as it were, by better-informed teachers, but I hope my colleagues will find here something they can set before their students with reasonable confidence. A b o v e all, I hope the book will straighten the path of those who, like myself a couple of decades ago, are trying to find their way in an initially foreign, often bewildering, but always fascinating and rewarding musical world. I am most grateful to the libraries which kindly supplied photographs for the plates. Plates 1, 4 - 6 , 8 - 9 , 11-14, and 18 are published by permission of the British L i b r a r y ; plates 2, 7, and 16 by permission of the Bodleian L i b r a r y ; plate 10 by permission of the Syndics of C a m b r i d g e University L i b r a r y ; plate 15 by permission of the Master and Fellows of University College, O x f o r d ; and plate 17 by permission of E d i n b u r g h University L i b r a r y . In conclusion I wish to thank those who have played an especially important part in the production of the book: M a l c o l m Gerratt, who launched the project and fanned it along for several years; Bruce Phillips, who brought it into the safe haven of O x f o r d University Press, and the staff of O U P , especially Leofranc Holford-Strevens and Bonnie B l a c k b u r n , who d i d far more for the book than an author has a right to expect from his copy-editor. Greatest of all is my debt to m y wife A n n , without whose patience and encouragement I should never have reached the end of the long voyage. D.H.

CONTENTS

Analytical

Table

xii xxi xxii

List of Illustrations List of Tables List ofMusic Note Examples Examples

xxi v xxx xxxi xxxiii 1 46 287 340 403

on Music

Abbreviations Bibliography I. II. III. IV. Plates V. VI. VII. VIII. IX. X. XI. Index Index Index Plainchant and Early M u s i c T h e o r y Plainchant up to the E i g h t h Century T h e Carolingian C e n t u r y Gregorian Chant and Other Chant Repertories Persons and Places Reformations of G r e g o r i a n Chant T h e Restoration of Medieval Chant of Text and Music of Manuscript of Names and Incipits Sources Plainchant in the L i t u r g y Chant Genres L i t u r g i c a l Books and Plainchant Sources Notation

442 478 514 524 563 608 622 631 638 643

and Printed Terms

ANALYTICAL

TABLE

I. LI. 1.2. 1.3. 1.4. 1.5. 1.6. Introduction

P L A I N C H A N T

IN T H E

L I T U R G Y 1 2 7 16 22 25 25 27 28 28 28 29 29 30 30 32 33 33 34 36 38 39 39 42

L i t u r g y and W o r s h i p T h e C h u r c h Year The Daily Round Mass " Office (i) T h e N i g h t Office ( M a t i n s , V i g i l s , or N o c t u r n s ) in Secular U s e (ii) T h e N i g h t Office i n M o n a s t i c U s e (iii) L a u d s i n Secular U s e (iv) L a u d s i n M o n a s t i c U s e (v) Vespers i n Secular U s e (vi) Vespers i n M o n a s t i c U s e (vii) C o m p l i n e (viii) P r i m e , T e r c e , Sext, and N o n e Processions Ceremonies of H o l y Week (i) G e n e r a l (ii) P a l m S u n d a y (iii) M a u n d y T h u r s d a y (iv) G o o d F r i d a y (v) H o l y Saturday or Easter E v e (vi) Easter S u n d a y T h e 'Feast of F o o l s ' and Related C u s t o m s O t h e r Services: B a p t i s m , C o n f i r m a t i o n , O r d i n a t i o n , C o r o n a t i o n , Marriage, Burial, Dedication II. C H A N T GENRES

1.7. 1.8.

1.9. 1.10.

>' I I . 1. 11.2.

11.3.

Introduction Recitation F o r m u l a s for Prayers and Lessons (i) G e n e r a l (ii) Prayers (iii) Lessons T o n e s for Psalms and O t h e r C h a n t s (i) Psalms (ii) O t h e r P s a l m T o n e s : T h e Parapteres, T o n u s peregrinus (iii) T o n e s for the Canticles Magnificat and Benedictus (iv) T o n e s for the P s a l m Verses of Introits and C o m m u n i o n s (v) T o n e s for Responsory Verses

46 47 47 49 54 58 58 62 64 64 65

Analytical

Table

xiii 66 in the Saturday Mass 68 68 69 69 69 71 74 76 76 76 77 80 81 82 82 83 85 88 88 91 92 96 98 99 99 100 101 102 102 104 109 109 110 114 116 116 117 118 120 121 121 122 122 126

II 4.

(vi) T o n e s for the Invitatory P s a l m (vii) Benedictus es domine Dens pat rum nostnon of the E m b e r Weeks (viii) T e D e u m laudamus T h e Great Responsories of the N i g h t Office (i) I n t r o d u c t i o n (ii) Repertory, T e x t s , and F o r m (iii) M u s i c (iv) C e n t o n i z a t i o n (v) Melismas

II .5.

Graduals and Tracts (i) I n t r o d u c t i o n (ii) G r a d u a l s i n a: T h e 'Iustus ut p a l m a ' G r o u p (iii) (iv) (v) (vi) (vii) Graduals i n F Other Graduals Tracts Tracts in Mode 2 Tracts in Mode 8

II .6. II .7.

Short Responsories Antiphons (i) I n t r o d u c t i o n (ii) F e r i a l or Psalter A n t i p h o n s (iii) A n t i p h o n s for the Psalms of Vespers, the N i g h t Office, and L a u d s (iv) A n t i p h o n s for the M a g n i f i c a t and Benedictus (v) T h e G r e a t O - A n t i p h o n s Invitatory A n t i p h o n s

Processional A n t i p h o n s (i) I n t r o d u c t i o n (ii) Rogation A n t i p h o n s (iii) P a l m S u n d a y A n t i p h o n s (iv) A n t i p h o n s for O t h e r Occasions II 10. M a r i a n A n t i p h o n s II 11. Introits (i) I n t r o d u c t i o n (ii) Introits i n M o d e 3 (iii) C o m p a r i s o n w i t h Office A n t i p h o n s a n d Responsories II 12. C o m m u n i o n s (i) G e n e r a l (ii) G r o u p s of C o m m u n i o n s w i t h P s a l m a n d G o s p e l T e x t s (iii) S o m e F - m o d e C o m m u n i o n s (iv) C o m m u n i o n s a n d Responsories II 13. Offertories (i) I n t r o d u c t i o n (ii) T e x t s (iii) T h e M e l o d i e s of the O f f e r t o r y R e s p o n d (iv) Verse M e l o d i e s

II .8. II .9.

11.14. A l l e l u i a s (i) I n t r o d u c t i o n (ii) T h e E a r l i e r and L a t e r Styles (iii) R h y m e d A l l e l u i a s and Late M e d i e v a l M e l o d i e s 11.15. H y m n s (i) I n t r o d u c t i o n (ii) T e x t s (iii) M u s i c (iv) Processional H y m n s 11.16. C h a n t s for the O r d i n a r y of Mass 11.17. K y r i e eleison (i) K y r i e eleison as a L i t a n y (ii) K y r i e eleison after the Introit at M a s s (iii) (iv) (v) *(vi) Early Melodies Italian M e l o d i e s Melodic Types Later Melodies

130 130 132 136 140 140 141 142 146 148 150 150 151 152 154 155 155 156 156 157 159 161 161 162 165 168 172 172 173 180 181 183 185 189 196 196 197 199 200 201 204 209 211 213 215 223 233

11.18. G l o r i a i n excelsis D e o (i) I n t r o d u c t i o n (ii) Recitation T y p e s (iii) T h r o u g h - c o m p o s e d M e l o d i e s 11.19. Sanctus (i) T h e Oldest M e l o d i e s (ii) O t h e r M e l o d i e s 11.20. A g n u s D e i 11.21. C r e d o 11.22. Sequences (i) I n t r o d u c t i o n (ii) E a r l y Sequences w i t h Parallel-Verse Structure (iii) N o t a t i o n : Performance; Partially T e x t e d M e l o d i e s (iv) Short A p a r a l l e l Sequences (v) Italian Sequences (vi) T h e E a r l y H i s t o r y of the Sequence (vii) R h y m e d Sequences 11.23. T r o p e s (i) I n t r o d u c t i o n (ii) A d d e d M e l i s m a s i n Introits (iii) A d d e d M e l i s m a s i n G l o r i a s (iv) A d d e d Responsory M e l i s m a s (v) Prosulas for Offertories and A l l e l u i a s (vi) Responsory Prosulas (vii) O t h e r Prosulas (viii) K y r i e s w i t h L a t i n T e x t , K y r i e Prosulas, and K y r i e T r o p e s (ix) Benedicamus C h a n t s w i t h E x t e n d e d T e x t , Prosulas, and T r o p e s (x) Introit, O f f e r t o r y , and C o m m u n i o n T r o p e s ; Sequence T r o p e s (xi) G l o r i a , Sanctus, and A g n u s T r o p e s (xii) Farsed Lessons, Creeds, and Paternoster

V 11.24. L a t i n liturgical songs (i) I n t r o d u c t i o n (ii) Versus i n E a r l y A q u i t a n i a n M a n u s c r i p t s ; versus w i t h ' D o u b l e Cursus' (iii) T w e l f t h - c e n t u r y S o n g s : T e x t u a l and M u s i c a l Style (iv) T w e l f t h - c e n t u r y Songs: L i t u r g i c a l F u n c t i o n 11.25. L i t u r g i c a l D r a m a s (i) L i t u r g y and D r a m a (ii) T h e Quern queritis D i a l o g u e (iii) Easter Ceremonies f r o m the E l e v e n t h C e n t u r y O n w a r d (iv) C h r i s t m a s and E p i p h a n y C e r e m o n i e s ; Rachel's and M a r y ' s L a m e n t s (v) R h y m e d C e r e m o n i e s ; the F l e u r y P l a y b o o k ; the Ludus Danielis 11.26. Offices w i t h Verse T e x t s 11.27. M e t r e , A c c e n t , R h y t h m , and R h y m e i n L i t u r g i c a l T e x t s (i) M e t r e and Stress (ii) R h y m e (iii) Prose R h y t h m (Cursus) and Prose R h y m e III. I I I . 1. 111.2. 111.3. L I T U R G I C A L BOOKS A N D P L A I N C H A N T SOURCES

238 238 239 241 248 250 251 252 255 263 266 273 279 280 284 285

Introduction Ordines Romam Sacramentaries and Lectionaries (i) Sacramentaries (ii) Lectionaries G r a d u a l s (Mass A n t i p h o n e r s ) and Cantatoria (i) I n t r o d u c t i o n (ii) G r a d u a l s w i t h o u t N o t a t i o n (iii) N o t a t e d G r a d u a l s A n t i p h o n e r s (Office A n t i p h o n e r s ) (i) T h e Earliest A n t i p h o n e r s (ii) T y p e s of M a n u s c r i p t and C a l e n d r i c Organization (iii) C o m p a r i s o n of Sources Psalters, H y m n a l s , Collectars, Office Lectionaries (i) Psalters (ii) H y m n a l s (iii) Collectars (iv) Office lectionaries Sequentiaries, T r o p e r s , and K y r i a l e s Processionals Missals

287 289 291 291 293 295 295 296 299 303 304 305 307 308 308 310 311 313 313 317 319 320 321 324 324 324 325

111.4.

111.5.

111.6.

II 1.7. II 1.8. 111.9.

111.10. Breviaries I I I . 11. C o m p e n d i a 111.12. Pontificals and R i t u a l s (i) Pontificals and Benedictionals (ii) R i t u a l s , M a n u a l s , or A g e n d a I I I . 13. O r d i n a l s and Customaries

I I I . 14. T o n a r i e s (i) D e f i n i t i o n and F u n c t i o n (ii) T y p e - M e l o d i e s for the E i g h t M o d e s (iii) H o w Psalm T o n e s were Specified I I I . 15. I d e n t i f y i n g and D e s c r i b i n g C h a n t - B o o k s IV. I V . 1. N O T A T I O N

325 326 331 333 335

IV.2.

Introduction (i) P r e l i m i n a r y (ii) T h e Signs i n M o n t p e l l i e r H . 159 (iii) N e u m e Regional Styles (i) F r e n c h and G e r m a n N o t a t i o n (ii) Palaeofrankish, L a o n , B r e t o n , and A q u i t a n i a n N o t a t i o n s (iii) T y p e s Related to F r e n c h - G e r m a n N o t a t i o n (iv) O t h e r Italian Notations (v) E x a m p l e s Liquescence, O r i s c u s , Q u i l i s m a ; O t h e r Special Signs (i) (ii) (iii) (iv) The (i) (ii) (iii) (iv) Signs for Liquescence Quilisma Oriscus V i r g a strata, Pressus, Pes stratus, Pes quassus, Salicus O r i g i n s of C h a n t N o t a t i o n Introduction Early Examples E a r l y References to N o t a t i o n Parallel Systems (a) Prosodic Accents (b) P u n c t u a t i o n (c) E k p h o n e t i c N o t a t i o n (d) Byzantine N o t a t i o n The 'Cheironomic' Theory T h e E a r l y T r a n s m i s s i o n of C h a n t Some Conclusions N o t a t i o n of R h y t h m

340 340 341 345 346 347 347 351 352 353 357 357 358 359 360 361 362 362 364 364 365 366 367 369 370 370 371 373 374 380 382 384 385 386 386 388 389 392 395

IV.3.

IV.4.

IV.5.

(v) (vi) (vii) The

IV.6.

(i) R h y t h m i c Elements i n E a r l y Notations (ii) R h y t h m i n S i m p l e A n t i p h o n s (iii) Cardine's ' G r e g o r i a n S e m i o l o g y ' (iv) T h e E v i d e n c e of T h e o r i s t s (v) C o n c l u s i o n s Pitch-Notation (i) F r o m the N i n t h C e n t u r y to W i l l i a m of D i j o n (ii) G u i d o of A r e z z o (iii) S t a f f - N o t a t i o n i n Different L a n d s T h e o r i s t s ' Notations Printed Chant-Books

IV.7. IV.8.

IV.9.

Modern Transcription (1) T h e L i t u r g i c a l C o n t e x t (ii) T r a n s c r i p t i o n (iii) T r a n s c r i p t i o n f r o m Staffless Notations

398 399 400 400

PLATES Frontispiece Plate Plate Plate Plate 1. 2. 3. 4. L o n d o n , B r i t i s h L i b r a r y , H a r l e y 1117 O x f o r d , Bodleian L i b r a r y , L a t . liturg. d . 3 L o n d o n , B r i t i s h L i b r a r y , E g e r t o n 857 L o n d o n , B r i t i s h L i b r a r y , H a r l e y 110 L o n d o n , B r i t i s h L i b r a r y , A d d . 30850 L o n d o n , B r i t i s h L i b r a r y , A d d . 19768 O x f o r d , B o d l e i a n L i b r a r y , C a n o n i c i l i t u r g . 350 L o n d o n , B r i t i s h L i b r a r y , A r u n d e l 156 L o n d o n , B r i t i s h L i b r a r y , R o y a l 8. C . x i i i C a m b r i d g e , U n i v e r s i t y L i b r a r y , L I . 2. 10 L o n d o n , B r i t i s h L i b r a r y , A d d . 10335 L o n d o n , B r i t i s h L i b r a r y , E g e r t o n 3511 L o n d o n , B r i t i s h L i b r a r y , A d d . 29988 L o n d o n , B r i t i s h L i b r a r y , A d d . 17302 O x f o r d , U n i v e r s i t y College 148 O x f o r d , B o d l e i a n L i b r a r y , L a t . l i t u r g . a. 4 E d i n b u r g h , U n i v e r s i t y L i b r a r y 33 L o n d o n , B r i t i s h L i b r a r y , printed book I B . 8668 ii 406 408 410 412 414 416 418 420 422 424 426 428 430 432 434 436 438 440

Plate 5. Plate 6. Plate 7. Plate 8. Plate 9. Plate 10. Plate Plate Plate Plate Plate Plate Plate Plate 11. 12. 13. 14. 15. 16. 17. 18.

V. V.l. V.2. V.3.

P L A I N C H A N T

A N D EARLY

MUSIC

T H E O R Y 442 443 447 447 448 452 454 454 456 458 459 461 463 466 470 472 476

Introduction T h e L e g a c y of A n t i q u i t y A P i t c h System for Plainchant (i) I n t r o d u c t i o n (ii) H u c b a l d of S a i n t - A m a n d (iii) T h e Enchinadis G r o u p of Treatises T h e Modes (i) G e n e r a l (ii) A u r e l i a n of R e o m e (iii) R e g i n o of P r u m (iv) N o m e n c l a t u r e (v) G r e e k N a m e s and Octave Species (vi) Italian T h e o r y : T h e Dialogus de musica (vii) (viii) (ix) (x) G u i d o of A r e z z o S o u t h G e r m a n Writers M o d a l Theory in South Germany L a t e r Syntheses

V.4.

VI. V I . 1. VI.2. VI.3. V I . 4. V I . 5.

P L A I N C H A N T

UP TO T H E E I G H T H

C E N T U R Y 478 480 484 487 494 495 496 498 499 500 503 503 504 504

VI.6.

Introduction T h e C h u r c h e s of C h r i s t e n d o m T h e Early Church Office C h a n t s before the E i g h t h C e n t u r y M a s s C h a n t s before the E i g h t h C e n t u r y (i) T h e G r a d u a l * (ii) T h e Introit and O t h e r Chants at the Start of M a s s (iii) T h e C h a n t s at C o m m u n i o n (iv) T h e O f f e r t o r y (v) T h e C h a n t s beside the Lessons G r e g o r y the Great (i) I n t r o d u c t i o n (ii) G r e g o r y and the Deacons (iii) G r e g o r y and the A l l e l u i a (iv) Isidore of S e v i l l e ; the Liberpontificalis;

the L i s t of C h a n t ' E d i t o r s ' 505 506 508 509 510 511 511 513

in O r d o Romanus X I X (v) T h e A n g l o - S a x o n T r a d i t i o n (vi) T h e Biographies by P a u l W a r n e f r i d and J o h n H y m m o n i d e s (vii) T h e ' G r e g o r i a n ' Sacramentary (viii) T h e Prologue Gregorius praesul X'(ix) T h e Reception of the G r e g o r y L e g e n d i n the N i n t h C e n t u r y and L a t e r ; the D o v e ; the M o d e s (x) G r e g o r y and the L e n t e n C o m m u n i o n s (xi) C o n c l u s i o n s i V I I . 1. V I I . 2. VI1.3. VII.4. VI1.5. VIII. VIII.l. VIII.2. VII. T H E C A R O L I N G IAN C E N T U R Y

Introduction The The The The Establishment of R o m a n C h a n t in F r a n c i a F r a n k i s h E x p a n s i o n of the Chant Repertory C o d i f i c a t i o n of Plainchant Place of M u s i c i n the C a r o l i n g i a n Renaissance C H A N T A N D OTHER C H A N T REPERTORIES

514 514 518 520 521

G R E G O R I A N

Introduction T h e Influence of B y z a n t i u m (i) I n t r o d u c t i o n (ii) T h e System of E i g h t M o d e s (iii) A n t i p h o n s for the A d o r a t i o n of the Cross and O t h e r C h a n t s i n O l d (iv) (v) (vi) (vii) Italian Repertories T h e Trisagion T h e F r a n k i s h 'missa graeca' T h e C o m m u n i o n Omnes qui in Christo T h e Byzantine A l l e l u i a s

524 525 525 527 527 528 528 529 529

(viii) T e x t u a l C o n c o r d a n c e s without M u s i c a l S i m i l a r i t y (ix) T h e Veterem hominem A n t i p h o n s for the Octave of E p i p h a n y VIII.3. O l d Italian C h a n t I : R o m e (i) I n t r o d u c t i o n (ii) Sources a n d Studies of O l d R o m a n C h a n t (iii) E x a m p l e s : C o m m u n i o n s (iv) G r a d u a l s (v) A n t i p h o n s (vi) Offertories (vii) A l l e l u i a s (viii) O r a l T r a d i t i o n O l d Italian C h a n t I I : M i l a n O l d Italian C h a n t I I I : Benevento Gallican Chant O l d Spanish (Mozarabic) Chant Conclusions

529 530 530 530 531 532 533 533 534 538 539 540 549 552 557 560

VIII.4. VIII.5. VIII.6. VI11.7. VIII.8.

IX. I X . 1. IX.2. IX.3. I X . 4. IX.5. IX.6. IX.7. IX.8.

PERSONS A N D

PLACES 563 569 571 574 578 580 585 589 594 596 601 604 604 605 606 607

Introduction A m a l a r i u s of M e t z St G a l l Cluny W i l l i a m of D i j o n E n g l a n d before a n d after the N o r m a n Conquest N o r t h Italian T r a d i t i o n s Benevento a n d Montecassino

IX.9. R o m e a n d the Franciscans I X . 10. A q u i t a i n e a n d S a i n t - M a r t i a l at L i m o g e s I X . 11. T h e H i s p a n i c P e n i n s u l a after the Reconquest I X . 12. N o r t h e r n a n d Eastern E u r o p e (i) S c a n d i n a v i a a n d Iceland (ii) P o l a n d (iii) C z e c h o s l o v a k i a (iv) H u n g a r y

, X.l. X.2. X.3. X.4.

X. R E F O R M A T I O N SOF G R E G O R I A N

C H A N T 608 609 611 613 613 614 615 618

X.5. X.6.

Introduction T h e Cistercians T h e Dominicans C h a n t i n O t h e r Religious O r d e r s (i) T h e Carthusians (ii) T h e Premonstratensians T h e ' M e d i c e a n ' G r a d u a l (1614-15) Neo-Gallican Chant

XI. X I . 1. XI.2. XI.3.

T H E R E S T O R A T I O N OF M E D I E V A L

C H A N T 622 624 628

T h e R e t u r n to the Source Solesmes and the Vatican E d i t i o n Practical E d i t i o n s and Scholarly Research

ILLUSTRATIONS

Plates F o r list sec above, p . x v i i . Maps I V . 2.1. IX.1.1. IX.1.2. IX.1.3. IX.1.4. IX.4.1. Figure V.4.1 G u i d o n i a n hand after M u n i c h , Bayerische Staatsbibliothek, e l m 14965b 469 C e n t r e s where L a o n notation was used T h e archdioceses of late medieval E u r o p e Ecclesiastical map of Italy Ecclesiastical map of G e r m a n y Ecclesiastical map of France Monasteries f o l l o w i n g the use of C l u n y , Saint-Benigne at D i j o n , or Bee 350 565 566 567 568 577

TABLES

1.3.1. 1.3.2. 1.3.3. 1.3.4. 1.4.1. 1.4.2. 1.6.1. I. 9 . 1 . I I . 7.1. I I . 11.1. 11.23.1. 11.23.2. 11.23.3. 111.4.1. 111.4.2. 111.4.3. III.5.1. III.8.1. I I I . 15.1. I V . 1.1. IV.2.1. IV.2.2. IV.2.3. IV.2.4. IV.3.1. IV.4.1. IV.4.2. IV.4.3. IV.6.1. I V . 6.2. V . 2.1. V.4.1. V . 4.2. V I . 5.1. VI.5.2.

T h e C h u r c h year: the fixed part dependent upon C h r i s t m a s T h e C h u r c h y e a r : the movable part dependent on Easter K a l e n d a r for O c t o b e r : C a m b r i d g e , C o r p u s C h r i s t i College 391 Saints w i d e l y celebrated i n the R o m a n C h u r c h T h e l i t u r g i c a l h o r a r i u m at C l u n y in the late eleventh century P s a l m s allotted to office hours, ferial cursus Psalms at ferial Vespers Beauvais C i r c u m c i s i o n office, F i r s t Vespers A n t i p h o n themes or prototype melodies R e c i t i n g notes i n introit melodies T r o p e s for the Easter introit Resunexi i n Winchester sources G l o r i a trope sets starting O laudabilis rex F a r s e d A p o s t l e s ' C r e e d i n L a o n 263 I n t e r l o c k i n g T e m p o r a l e and Sanctorale in R o m a n use D i s p o s i t i o n of T e m p o r a l e and Sanctorale i n F r a n k i s h use Separate T e m p o r a l e and Sanctorale i n later medieval use D e p l o y m e n t of material i n two antiphoners C o n t e n t s of the Castle A c r e processional Responsories i n the N i g h t Office of St A n d r e w

12 13 14-15 17 20 21 29 43 91 115 217 226-7 234 300 301 302 306 318 337

N o t a t i o n a l signs i n M o n t p e l l i e r , Faculte de M e d e c i n e I I . 159 342-3 F r e n c h a n d G e r m a n notational signs 348 P a l a e o f r a n k i s h , L a o n , B r e t o n , and A q u i t a n i a n notational signs 349 S i g n s related to F r e n c h - G e r m a n notation 352 O t h e r Italian notations 353 S p e c i a l signs i n St G a l l and L a o n notation 361 P r o s o d i c accents 366 B y z a n t i n e e k p h o n e t i c signs 368 A c c e n t s , ekphonetic signs, and neumes (Byzantine) 369 S p e c i a l signs at the semitone step i n M o n t p e l l i e r , Faculte de M e d e c i n e I I . 159 388 L a t e f o r m s d e r i v e d f r o m L a o n and G e r m a n notation G r e a t e r a n d Lesser Perfect S y s t e m , diatonic genus G r e e k and m e d i e v a l m o d a l names W r i t e r s o n m u s i c theory in south G e r m a n y i n the eleventh century C h a n t s at the start of mass in four rites C h a n t s beside the lessons in four rites 390 446 462 472 497 500

Tables IX.3.1. I X . 10.1. I X . 10.2. Sources grouped a c c o r d i n g to their musical variants A q u i t a n i a n sources to c. 1200 Post-Pentecost alleluia series in L i m o g e s

xxiii 574 597 601-2

MUSIC

EXAMPLES

Ex. Ex. Ex. Ex.

I 1.2.1. I 1.2.2. I 1.2.3. I 1.2.4.

Versicles and responses F r o m the Blessing of the F o n t on Easter E v e F r o m the Exultet F r o m a litany on Rogation T u e s d a y Paler noster F r o m the G o s p e l o n the feast of St J o h n the Evangelist F r o m the F r o m the T h e eight Antiphon Genealogy according to St M a t t h e w Genealogy according to St L u k e psalm tones Scitote quia prope est, w i t h psalm-tone

48 50 52 53 54 55 57 58 59-60 61 62 63 63 64 verbum, and 65 67 72 78 80 81 84 86 87 87 92 93 94 95 97 99 pontifices 101 102 103 105 106 107 107

E x . I 1.2.5. E x . I 1.2.6. E x . I 1.2.7. E x . I 1.2.8. E x . I 1.3.1. E x . I 1.3.2. E x . I 1.3.3. E x . I 1.3.4. E x . I 1.3.5. E x . I 1.3.6. E x . I 1.3.7. Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex. I 1.3.8. I 1.4.1. I 1.5.1. I 1.5.2. I 1.5.3. I 1.5.4. I 1.6.1. I 1.6.2. I 1.6.3. I 1.7.1. I 1.7.2. I 1.7.3. I 1.7.4. I 1.7.5. I 1.8.1.

Cadences f r o m the Commemoratio brevis T o n u s peregrinus A n t i p h o n w i t h 'parapter' psalm tone P s a l m verses for introits Verses of the responsories Salvatorem expectant us, Aitdite Ecce virgo concipiet Invitatory tone Responds of four responsories G r a d u a l Tecum principium F r o m G r a d u a M w / w a nostra V . Laqueus contritus est F r o m G r a d u a l Exaltabo te V . Domine Dens mens T r a c t Iubilate Domino omnis terra Short responsory Super te lerusalem Short responsory Resurrexit Dominus F e r i a l antiphons Credidi and Portio mea Psalter antiphons A n t i p h o n s w i t h the melody Gevaert theme 29 A n t i p h o n s w i t h the melody Gevaert theme 36 Antiphons Magnificat antiphons Invitatory antiphon Ouoniam Deus magnus and part of responsory Tolle anna tua Processional a n t i p h o n Ego sunt Deus F r o m the processional a n t i p h o n Collegentnt Processional a n t i p h o n Ego sum alpha et to

I 1.9.1. I 1.9.2. I 1.9.3. I 1.10.1. E x . I 1.10.2. E x . I 1.10.3. E x . I 1.10.4.

M a r i a n a n t i p h o n Sub tuunt presidium M a r i a n a n t i p h o n Speciosa facta es i n two versions F r o m M a r i a n antiphons Alma redemptoris mater and Sake M a r i a n a n t i p h o n Aurei nontinis Maria

regina

Music Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex. I 1.10.5. I 1.11.1. I 1.11.2. I 1.11.3. I 1.11.4. I 1.11.5. I 1.12.1. I 1.12.2. I 1.12.3. I 1.13.1. I 1.13.2. I 1.13.3.

Examples

XXV

M a r i a n a n t i p h o n Trinitatis thalamum M o d e 3 introit openings M o d e 3 introit cadences Recitation a r o u n d c in mode 3 introits F r o m introit Ecce oculi A n t i p h o n Dominus legifer noster and introit Timete Mode 6 communions C o m m u n i o n Dicit Dominus implete hydrias Diffusa est gracia as c o m m u n i o n and responsory O f f e r t o r y respond Ad te Domine levavi O f f e r t o r y respond In die sollempnitatis O f f e r t o r y respond Jubilate Deo universa F r o m offertory respond Tollite portas Second verse of offertory Tollite portas Verses of offertory Iubilate Deo universa Alleluia Dominus dixit ad me A n o t h e r melody for Alleluia Dominus Alleluia Attendite popule mens Alleluia Nuptie facte sunt in Ghana Alleluia Alleluia Veni sponsa Christi Ante thronum trinitatis rubens rosa Dominion

108 111 112 113 113 114 118 119 120 123 124 125 127 128 129 132 133 134 135 136 138 139 139 143 143 144 145 145 147 151 153 154 154 155 156 156 158 159 160 163 164 165 165 167 168 170

terra

E x . I 1.13.4. E x . I 1.13.5. E x . I 1.13.6. E x . I 1.14.1. E x . I 1.14.2. E x . I 1.14.3. Ex. Ex. Ex. Ex. Ex. I 1.14.4. I 1.14.5. I 1.14.6. I 1.14.7. I 1.14.8.

terra

dixit ad me

Alleluia 0 Maria rubens rosa T r o p e verses for Alleluia 0 Matia

E x . I 1.15.1. E x . 1 1.15.2. E x . I 1.15.3. E x . I 1.15.4. E x . I 1.15.5. E x . I 1.15.6. E x . I 1.17.1. E x . I 1.17.2. E x . I 1.17.3. E x . I 1.17.4. E x . I 1.17.5. E x . T 1.17.6. E x . I 1.17.7. E x . I 1.18.1. E x . I 1.18.2. E x . I 1.18.3. E x . I 1.19.1. E x . I 1.19.2. E x . I 1.19.3. E x . I 1.19.4. E x . I 1.20.1. E x . I 1.20.2. E x . I 1.21.1.

H y m n Chnste qui lux es H y m n Somno refect is artubus T w o melodies for h y m n Ecce iam noctis H y m n Pange lingua H y m n Sanctorum mentis F r o m processional hymn Ardua spes mundi Litany K y r i e 55, Vatican ad l i b . V I K y r i e 68, Vatican X I V K y r i e 155, V a t i c a n X V K y r i e 77 and K y r i e 52 K y r i e 97 K y r i e 139 Cadential figures ( a - d ) and intonation figure (e) f r o m G l o r i a 39 Gloria 2 Gloria 5 G r e e k Sanctus and L a t i n Sanctus 66 Sanctus 68 Sanctus 216 Sanctus 98 O l d R o m a n A g n u s ; A g n u s 226 A g n u s 144 Credo

xxvi Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex. II .21.2. II . 2 2 . 1 . II .22.2. II .22.3. II .22.4. II .22.5. II .22.6. II .22.7. II .22.8. II .22.9. II .22.10. II .22.11.

Music F r o m Credo by L u l l y Sequence Clans vocibus

Examples 171 174 175 175 176 177 179 182 184 189 190-1 192 193 195 198-9 202 Michael 203 206 207 208

F r o m sequence Claris vocibus Start of sequence Eia recolanius Sequence Organicis canamus modulis Sequence Sancti baptiste Sequence Pura Deum Alleluia Ostende and associated sequences Sequence Sancte cruris celebrenms Sequence Victime paschali laudes Sequence Congaudentes exultemus Sequence Hodierne lux diei Sequence Para nymph us salutat virginern

E x . II .22.12. E x . II .22.13. E x . II . 2 3 . 1 . E x . 11 .23.2. Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex. I] .23.3. II .23.4. 11 .23.5. 11 .23.6. 11[.23.7. 11[.23.8. U[.23.9. I i[.23.10. I][.23.11. U .23.12. I][.23.13. 11[.23.14.

Sequence Affluens deliciis T r o p e verses Dilectus iste Domini, etc. for introit /;/ medio ecclesie Verse Ostende nobis for offertory Benedixisti, w i t h prosulas Da nobis famulis and Da nobis potenti Alleluia Concussion est mare w i t h prosula Angelas

Responsory Beatus Nicholaus w i t h prosula Oportet devota mente Responsory 0 mater nostra w i t h prosula Eterna virgo memorie F r o m G l o r i a 56 (Vatican I V ) w i t h trope verses 0 gloria sanctorum, etc., R e g n u m prosula 0 rexglorie

210 K y r i e Te Chris te supplices 212 K y r i e Eons bonitatis 213 K y r i e 55 w i t h trope verses Chris te redemptor, etc. 214 Benedicamus chant Eia nunc pueri 215 Benedicamus chants 218-19 T r o p e verses Ecce iam Iohannes, etc. for introit /;/ medio ecclesie 222 T r o p e verse Deus paterfiliurn suum and start of introit Puer natus est I n t r o d u c t o r y verses Ilodie cantandus est, etc. and start of introit Puer 222 natus est G l o r i a 39 w i t h trope verses 0 laudabilis rex, etc. and S c e p t r u m prosula Lumen etemum Sanctus 56 (Vatican I I I ) w i t h trope verses Summe pater, etc. a n d Osanna prosulas Omnes tua gratia ^nd Martyr Christi gratia A g n u s 15 w i t h trope verses Pro cunctis deductus, etc. A g n u s 81a w i t h trope verses Ad dextrarn patris, etc. and Ilumanum genus, etc. Farsed C r e d o I n t r o d u c t o r y verse iMitdes Deo for a farsed epistle Start of farsed lesson w i t h verses Ce que Ysaies nos escrit, etc. Start of versus Sancte Paule pastor bone Benedicamus song Lux ornni festa L a t i n song Letabundi iubilemus L a t i n song Natus est, natus est Benedicamus song Thesaurus populo 228-30 230-1 232 233 235-6 237 237 241 243 244 245 246

E x . 11 .23.15. E x . I] .23.16. E x . 11[.23.17. E x . 11 .23.18. E x . 11 .23.19. E x . 11 .23.20. E x . 11 .23.21. E x . U .24.1. E x . 11 .24.2. E x . 11 .24.3. E x . 11 .24.4. E x . I][.24.5.

nove grade

Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex.

II.24.6. II.24.7. II.24.8. 11.25.1. II.25.2. II.25.3. 11.25.4.

L a t i n song Plebs Domini hac

die

L a t i n s o n g / k ^ mater salvatoris M a c a r o n i c song Be deu hoi mais Quern queritis Visit at io sepulchri T h o m a s scene T h o m a s scene Visit alio sepulchri Lament atio Rachel is F r o m the T o u r s Easter play S o n g Adam novus veterem f r o m F l e u r y Peregrinus play F r o m the Ludus Danielis F r o m the Ludus Danielis F r o m the Ludus Danielis R e s p o n s o r y Videns Rome vir beatus A n t i p h o n Gregorius vigiliis A n t i p h o n s f r o m the office of St D o m i n i c A n t i p h o n s f r o m the offices of St D o m i n i c and St T h o m a s of C a n t e r b u r y Responsory Post sex annos E x t r a c t f r o m a tonary, part of the t h i r d tone T y p e - m e l o d i e s f r o m a tonary F r o m the G l o r i a tones C o m m u n i o n Ego sum vitis vera A n t i p h o n Beatus ille servus C o m m u n i o n Quis dabit ex Sion F r o m gradual Exultabunt sancti V . Cantate

246 247 248 253 256-7 258-9 260 262-3 266 268-9 270 271 272 272 275 276 277 278 279 327 332 334 344 355 356 358 359 372 375 376 377 378 378 379 380 381 387 393 393 394 395 396 398

11.25.5. E x . II.25.6. Ex. II.25.7. E x . II.25.8. E x . II.25.9. E x . 11.25.10. E x . 11.25.11. Ex. II.26.1. E x . II.26.2. E x . II.26.3. E x . II.26.4. Ex. II.26.5. Ex. III.14.1. Ex. III.14.2. Ex. III.14.3. Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex. IV.1.1. IV.2.1. IV.2.2. IV.3.1. IV.3.2. IV.4.1.

Domino

I V . 5.1. I V . 5.2. Ex. IV.5.3. Ex. IV.5.4. Ex. IV.5.5. Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex. IV.5.6. IV.5.7. IV.5.8. IV.6.1. IV.7.1. IV.7.2. I V . 7.3. IV.7.4. IV.7.5. IV.8.1.

E x a m p l e s of oriscus O p e n i n g s of mode 3 introits (St G a l l notation) F r o m offertory Benedictus es Domine N o r m a l and m o d i f i e d signs i n St G a l l notation (selection) N o r m a l and 'longer' signs i n L a o n notation (selection) A standard phrase f r o m mode 5 graduals ( A p e l F l ) w i t h L a o n a n d St G a l l notation Possible gradations of d u r a t i o n i n pes and clivis ( L a o n and St G a l l notations) M e n s u r a l transcription of passages f r o m Alleluia Pascha M e n s u r a l transcription of passages horn Alleluia Pascha A n t i p h o n s w i t h the same m e l o d y A l p h a b e t i c notation a-p H u c b a l d ' s letter-notation D a s i a signs i n the Enchiriadis g r o u p of treatises B o e t h i u s ' pitch-letters nostrum nostrum

Pitch-letters i n the Dialogus de musica and G u i d o of A r e z z o H e r m a n n u s C o n t r a c t u s ' interval notation C o m m u n i o n Pascha nostrum

xxviii Ex. Ex. Ex. Ex. Ex. Ex. Ex. Ex. V.2.1. V.2.2. V.3.1. V.3.2. V.3.3. V.3.4. V.3.5. V.4.1.

Music

Examples 445 447 449 450 450 451 453 457 464 465 465 466 467 468 470 474 475 gloria 532 534 535 536 537 538 543 545 546 548 canite 551 555

Boethius' division of the m o n o c h o r d Species of intervals A n t i p h o n Ecce vere Israelii a notated by H u c b a l d on six 'strings' H u c b a l d ' s arrangement of ascending tetrachords Introit Statuit ei as described by H u c b a l d H u c b a l d ' s letter-notation E x a m p l e s i n protus mode f r o m Music a enchiriadis Psalm-verse cadences and openings of mode 1 introits cited b y A u r c l i a n of Reome D i v i s i o n of the m o n o c h o r d i n Dialogus de rnusica

Ex. V.4.2. Ex. V.4.3. Ex. V.4.4. Ex. V.4.5. Ex. V.4.6. Ex. V.4.7. Ex. V.4.8. Ex. V.4.9. Ex. V.4.10 Ex. VIII.3.1. Ex. Ex. Ex. Ex. VIII.3.2. VIII.3.3. VIII.3.4. VIII.3.5.

Notes required to notate antiphon Domine qui operati, various versions Ranges of chants i n the eight modes, Dialogus de rnusica ' S i m i l i t u d e s ' of notes to the various modes, Dialogus de rnusica H y m n Lit queant laxis G u i d o of A r e z z o A n t i p h o n Diligite Dominion
y

T h e modi vocum, G u i d o of A r e z z o Notes required to notate c o m m u n i o n De fructu, two versions M o d a l qualities of notes, H e r m a n n u s Contractus O l d R o m a n and G r e g o r i a n versions of c o m m u n i o n Revelabitur Domini G r a d u a l verses Celt enarrant and In manibus portabunt te A n t i p h o n s i n O l d R o m a n and G r e g o r i a n versions

Ex. VIII.3.6. Ex. VIII.4.1. Ex. VIII.4.2. Ex. VIII.4.3. Ex. VIII.4.4. Ex. VIII.5.1. Ex. VIII.6.1. Ex. VIII.6.2. Ex. Ex. Ex. Ex. Ex.

O l d R o m a n and G r e g o r i a n versions of offertory verse Qui propitiatur O l d R o m a n and G r e g o r i a n versions of verse Quoniam angelis f r o m offertory Scapulis suis First verse of Alleluia Palatum corrneum T r a n s i t o r i u m Convertirnini omnes R e s p o n s o r i u m c u m infantibus Sperent in te Melodiae of A m b r o s i a n A l l e l u i a V I G r e g o r i a n , O l d R o m a n , and A m b r o s i a n versions of introit/ingressa Invocavit me A m b r o s i a n and O l d Beneventan versions of c o m m u n i o n Ilymnum Processional a n t i p h o n Cum audisset populus Part of offertory Sanctificavit Moyses i n O l d S p a n i s h , G r e g o r i a n , A m b r o s i a n , and O l d R o m a n versions

556-7 587 588 592 etc. 593 599--600 612

IX.7.1. IX.7.2. I X . 8.1. IX.8.2. IX.10.1.

T r o p e verses Qui die at patn\ etc. for introit Resurrexi Sequence Clara gaudia festa paschalia Rogation antiphon Peccavimus Domine Start of farsed lesson w i t h verses Ad laudern regis glorie, Responsory 0 sancte Dei apostole

Ex. X.3.1.

F r o m gradual Exurge Domine i n G r e g o r i a n and C i s t e r c i a n - D o m i n i c a n versions

Music Ex. X.5.1. Ex. X . 6 . 1 . Ex. X 1 . 1 . 1 .

Examples

xxix 617 619-20 625

M e d i e v a l and M c d i c c a n versions of gradual Omnes de Saba Extracts f r o m Graduel de Pans,1754 O p e n i n g of gradual Ex urge Domine non prevaleat homo

NOTE ONMUSIC

EXAMPLES

Slurs are used only for notes joined in the same sign in the original h
w r

notation.

= oriscus = quilisma = liquescent note

A - = neume at the semitone step ('mi-neume') ' = apostropha

Pitch-letters follow G u i d o n i a n , not modern practice.

r A B C DEFGabc

de

f g

"etc.

ABBREVIATIONS

AcM AfMw AH

Acta musicologica Archiv fur Musikwissenschaft Analecta hymnica medii aevi, e d . G u i d o M a r i a D r e v e s , C l e m e n s B l u m e , a n d H e n r y M a r r i o t t Bannister, 55 vols. ( L e i p z i g , 1 8 8 6 - 1 9 2 2 ) ; Register, e d . M a x L u t o l f , 3 vols. (Berne, 1978). T e x t editions of h y m n s : 2, 4, 1 1 - 1 2 , 14, 16, 19, 2 2 - 3 , 27, 43, 48, 5 0 - 2 ; of r h y m e d offices: 5, 13, 1 7 - 1 8 , 2 4 - 6 , 28, 4 5 ; of sequences: 7 - 1 0 , 34, 37, 3 9 - 4 0 , 42, 44, 5 3 - 5 ; of tropes: 47, 49. F o r i n d i v i d u a l v o l u m e s see B i b l i o g r a p h y Antiphonale monasticum pro diurnis horis ( T o u r n a i , 1934) Rene-Jean H e s b e r t , Antiphonale missarum sextuplex (Brussels, 1935) [ M o n z a , Basilica S . G i o v a n n i , C I X : ' M o d o e t i e n s i s ' ; Z u r i c h , Z e n t r a l b i b l i o t h e k , R h e i n a u 3 0 : ' R h e n a u g i e n s i s ' ; Brussels, B i b l i o t h e q u e Royale, 1 0 1 2 7 - 1 0 1 4 4 : ' B l a n d i n i e n s i s ' ; Paris, B i b l i o t h e q u e N a t i o n a l e , lat. 17436: ' C o m p e n d i e n s i s ' ; Paris, B i b l i o t h e q u e N a t i o n a l e , lat. 12050: ' C o r b i e n s i s ' ; Paris, B i b l i o t h e q u e Sainte-Genevieve, 1 1 1 : 'Silvanectensis'] Antiphonale sacrosanctae Romanae ecclesiae (Rome, 1912) of the Antiphonale Sarisburiense: A Reproduction in Facsimile of a Manuscript Thirteenth Century, e d . Walter H o w a r d Frere ( L o n d o n , 1901-24) Beitrdge zur Gregorianik

AM AMS

Aft AS BzG CAO

Corpus antiphonalium officii, e d . Rene-Jean Hesbert ( R e r u m ecclesiasticarum d o c u m e n t a , Series maior, Fontes, 7 - 1 2 ; R o m e , 1 9 6 3 - 7 9 ) . F o r i n d i v i d u a l v o l u m e s see B i b l i o g r a p h y C o r p u s c o n s u e t u d i n u m m o n a s t i c a r u m , e d . K a s s i u s H a l l i n g e r ( S i e g b u r g , 1 9 6 3 - ). F o r i n d i v i d u a l volumes see B i b l i o g r a p h y C o n s u e t u d i n e s monasticae, e d . B r u n o A l b e r s . F o r i n d i v i d u a l volumes see Bibliography E d m o n d de Coussemaker, Scriptorum de rnusica medii aevi novam seriem . . . , 4 vols. (Paris, 1864, 1867, 1869, 1876) C o r p u s s c r i p t o r u m de rnusica ( R o m e , 1 9 5 0 - ). F o r i n d i v i d u a l v o l u m e s see Bibliography C o r p u s t r o p o r u m ( S t u d i a L a t i n a S t o c k h o l m i e n s i a ; S t o c k h o l m , 1 9 7 5 - ). F o r i n d i v i d u a l volumes see B i b l i o g r a p h y Fernand C a b r o l , H e n r i Leclercq, and H e n r i M a r r o u (eds.), Dictionnaire d'archeologie chretienne et de liturgie, 15 vols, i n 30 (Paris, 1907-53) D i v i t i a e musicae artis, e d . Joseph S m i t s van Waesberghe ( B u r e n , 1 9 7 5 - ). F o r i n d i v i d u a l volumes see B i b l i o g r a p h y Etudes gregoriennes Ephemerides liturgicae Early Music History Graduate sacrosanctae Romanae ecclesiae (Rome, 1908)

CCM CM CS CSM CT DACL DMA EG EL EMM GR

xxxii GS GT

Abbreviations M a r t i n G e r b e r t , Scriptores ecclesiastic! de rnusica sacra potissimum, 3 vols. ( S a n k t - B l a s i e n , 1784) [to be used i n conjunction w i t h B e r n h a r d 1989] Graduate triplex, ed. M a r i e - C l a i r e B i l l e c o c q and R u p e r t F i s c h e r (Solesmes, 1979) [Graduate Romanum of 1974 w i t h neumes of L a o n 239, E i n s i e d e l n 121, St G a l l 359 a n d 339, etc.] H a n s - H e i n r i c h Eggebrecht (ed.), Handworterbuch der musikalischen Terrninologie ( M a i n z , 1971- ) Journal of the American Musicological Society Journal of the Plainsong & Mediaeval Music Society Kirchenmusikalisches Jahrbuch Liber responsorialis pro festis I. classis et communi sanctorum juxta ritum monasticum (Solesmes, 1894) Liber usualis missae et officii pro dominicis et festis I. vet II. classis ( R o m e , 1921) Musica disciplina Die Musikforschung F r i e d r i c h B l u m e (ed.), Die Musik in Geschichte and Gegenwari: Allgerneine Enzyklopddie der Musik, 17 vols. ( K a s s e l , 1949-86) M o n u m e n t a G e r m a n i a e historica. F o r i n d i v i d u a l v o l u m e s see B i b l i o g r a p h y M o n u m e n t a m o n o d i c a m e d i i aevi ( K a s s e l , 1956- ). F o r i n d i v i d u a l v o l u m e s see Bibliography M o n u m e n t a musicae sacrae, e d . Rene-Jean H e s b e r t . F o r i n d i v i d u a l v o l u m e s see Bibliography Musical Quarterly The New Catholic Encyclopedia, 15 vols. ( N e w Y o r k , 1967; s u p p l e m e n t a r y vols. 1974, 1979) Stanley Sadie (ed.), The New Grove Dictionary of Music and Musicians, 20 vols. ( L o n d o n , 1980) Paleographie m u s i c a l e : L e s p r i n c i p a u x manuscrits de chant gregorien, a m b r o s i e n , mozarabe, gallican [premier serie, deuxieme serie]. F o r i n d i v i d u a l v o l u m e s see Bibliography Patrologiae cursus completus, series latina, ed. J . - P . M i g n e , 221 vols. (Paris, 1844-64) Revue benedictine Revue du chant gregorien Revue gregorienne Rivista italiana di musicologia R e p e r t o i r e international des sources musicales ( M u n i c h and D u i s b u r g ) . F o r i n d i v i d u a l volumes see B i b l i o g r a p h y Studia musicologica Academiae scientiarwn Hungaricae V e r o f f e n t l i c h u n g e n der G r e g o r i a n i s c h e n A k a d e m i e z u F r e i b u r g i n der S c h w e i z

IIMT JAMS JPMMS Kmjb LR LU MD Mf MGG MGH MMMA MMS MQ NCE NG PalMus

PL RB RCG RG RIM RISM SMH VGA

BIBLIOGRAPHY

A B A T E , G . , 'II p r i m i t i v o breviario francescano', Miscellanea francescana, 60 (1960), 4 7 - 2 4 0 . A B E R T , H E R M A N N , Die aesthetischen Grundsdtze der mittelalterlichen Melodiebildung (Halle, 1905). Die Musikanschauung des Mittelalters und Hire Grundlagen ( H a l l e , 1905). A B R A H A M S E N , E R I K , Elements romans et allemands dans le chant gregorien et la populaire en Danemark C o p e n h a g e n , 1923). Acta sanctorum collecta Brussels, 1 8 6 3 - ). chanson

(Publications de l ' A c a d e m i e gregorienne de F r i b o u r g (Suisse), 11; . . . a Sociis Bollandianis ( A n t w e r p , 1 6 4 3 - ; 3 r d e d n . , Paris and

Acta sanctorum ordinis sancti Benedicti, e d . Jean M a b i l l o n , L u c d ' A c h e r y , et al., 9 vols. (Pans, 1668-1701). A D L E R Festschrift 1930 = Studien zur Musikgeschichte: Festschrift fur Guido Adler ( V i e n n a , 1930). A G U S T O N I , L U I G I , Gregorianischer Choral: Elemente und Vortragslehre Berucksichtigung der Neumenkunde ( F r i b o u r g , 1963). ' D i e Frage der T o n s t u f e n S I u n d M I ' , BzG 4 (1987), 4 7 - 1 0 1 . mit besonderer

and G O S C H L , Johannes B e r c h m a n s , Einfuhning in die Interpretation des Gregorianischen Chorals, 1: Grundlagen (Regensburg, 1987). A H 2 (1887) = Hymnarius Moissiacensis: Das Hymnar der Abtei Moissac im 10. Jahrhundert nach einer Handschrift der Rossiana, ed. G u i d o Maria Dreves. A H 4 (1888) = llyrnni inediti: Liturgische Hymnen des Mittelalters aus handschriftlichen

Breviarien, Antiphonalien und Processionalien, ed. Dreves. A H 5 (1889), 13 (1892), 18 (1894), 24 (1896), 2 5 - 6 (1897), 28 (1898), 45 (1904) = Historiae Hiythrnicae: Liturgische Reimoffizien des Mittelalters aus Handschriften und Wiegendnicken, ed. D r e v e s . A H 7 (1889) = Prosarium L^emovicense: Die Prosen der Abtei St. Martial zu Limoges, aus Troparien des 10., 11. und 12. Jahrhunderts, ed. Dreves. A H 8 - 9 (1890), 10 (1891) = Sequentiae ineditae: Liturgische Prosen des Mittelalters aus Handschriften und Fruhdrucken, ed. Dreves. A H 11 (1891), 12 (1892), 19 (1895), 22 (1895), 23 (1896), 43 (1903) = Hymni inediti: Liturgische Hymnen des Mittelalters aus Handschriften und Wiegendrucken, ed. Dreves. A H 13 see A H 5. A H 14 (1893) den Codices A H 16 (1894) Handschriften A H 17 (1894) = Hymnarius Severinianus: Das Hymnar der Abtei S. Severin in Neapel nach Vaticanus 7172 und Parisinus 1092, e d . D r e v e s . = Hymnodia Hiberica: Spanische Hymnen des Mittelalters aus liturgischen und Druckwerken romischen Ordos, e d . D r e v e s . = Hymnodia Hiberica: Liturgische Reimoffizien aus spanischen Brevieren. Im die Lie der des s.g. Codex Calixtinus, ed. Dreves.

Anhange: Carmina Compostellana, A H \%see A H 5. A H 19, 22, 23 see A H 11.

A H 2 4 - 6 , 2 8 see A H 5 . A H 2 7 ( 1 8 9 7 ) = Hymnodia Gotica: Die mozarabischen Hymnen des alt-spanischen handschriftlichen und gedruckten Quellen, e d . C l e m e n s B l u m e .
AH 3 4 ( 1 9 0 0 ) , 3 7 ( 1 9 0 1 ) , 3 9 ( 1 9 0 2 ) , 4 2 ( 1 9 0 3 ) , 4 4 ( 1 9 0 4 ) = Sequentiae ineditae:

Ritus aus
Liturgische

Prose?i des Mittelalters aus Handschriften und Friihdrucken, ed. Blume. A H 4 0 ( 1 9 0 2 ) = Sequentiae ineditae: Liturgische Prosen des Mittelalters aus und Fruhdrucken, A H 4 2 see A H 3 4 . A H 4 3 see A H 1 1 . A H 4 4 see A H 3 4 . A H 4 5 see A H 5 . e d . H e n r y M a r r i o t t Bannister.

Handschriften

A H 4 7 ( 1 9 0 5 ) = Tropi graduates: Tropen des Missale im Mittelalter. I. Tropen zum Ordinarium Missae. Aus handschriftlichen Quellen, e d . B l u m e and Bannister. A H 4 8 ( 1 9 0 5 ) , 5 0 ( 1 9 0 7 ) = Hymnographi Latini: Lateinische Hymnendichter des Mittelalters aus gedruckten und ungedruckten Quellen, e d . D r e v e s . A H 4 9 ( 1 9 0 6 ) = Tropi graduates: Tropen des Missale im Mittelalter. II. Tropen zum Proprium Missae. Aus handschriftlichen Quellen, e d . B l u m e . A H 5 0 see A H 4 8 . A H 5 1 ( 1 9 0 8 ) = Thesauri hymnologici hymnarium: H. A. Daniels und anderer Hymnen-Ausgaben. Die Hymnen des Thesaurus I. Die Hymnen des 5.-11. Hymnologicus Jahrhunderts des 12.-16.

und die irisch-keltische Hymnodie aus den dltesten Quellen, e d . B l u m e . A H 5 2 ( 1 9 0 9 ) = Thesauri hymnologici hymnarium ...//. Die Hymnen

Jahrhunderts aus den dltesten Quellen, e d . B l u m e . A H 5 3 ( 1 9 1 1 ) = Thesauri hymnologici prosarium: Liturgische Prosen erster Epoche aus den Sequenzenschulen des Abendlandes, insbesondere die dem Notkerus Balbulus zugeschriebenen, nebst Skizze iiber den Ursprung der Sequenz, aufgrund der Melodien aus den Quellen des 10.-16. Jahrhunderts, e d . B l u m e and Bannister. A H 5 4 ( 1 9 1 5 ) = Thesauri hymnologici prosarium: Liturgische Prosen des Ubergangsstiles und der zweiten Epoche, insbesondere die dem Adam von Sanct Victor zugeschriebenen, aus Handschriften und Friihdrucken, e d . B l u m e and Bannister. A H 5 5 ( 1 9 2 2 ) = Thesauri hymnologici prosarium: Liturgische Prosen zweiter Epoche auf Feste der Heiligen nebst eiriem Anhange: Hymnologie des Gelderlandes und des Haariemer Gebietes aus Handschriften und Fruhdrucken, ed. Blume. A I K A A , E R M O , ' E i n marianischer G l o r i a - T r o p u s ' , paper read at the F i r s t E u r o p e a n Science F o u n d a t i o n International W o r k s h o p on T r o p e s , M u n i c h , 1 9 8 3 .
A L B A R O S A , N I N O , ' L a scuola gregonana d i E u g e n e C a r d i n e ' , RIM 9 ( 1 9 7 4 ) , 2 6 9 - 9 7 ; 1 2 ( 1 9 7 7 )
136-52.

' T h e P o n t i f k i o Istituto d i M u s i c a Sacra i n R o m e and the S e m i o l o g i c a l S c h o o l of D o m Eugene C a r d i n e ' , JPMMS 6 (1983), 2 6 - 3 3 . 'Paleografi n o n semiologi?', i n H u g l o 1 9 8 7 , 1 0 1 - 5 . A l b e r s see C M . A L B R E C H T ( H A N S ) G e d e n k s c h r i f t 1 9 6 2 = W i l f r i e d Brennecke and H a n s Haase (eds.), Hans Albrecht in Memoriam ( K a s s e l , 1 9 6 2 ) . A L B R E C H T ( O T T O ) Festschrift 1 9 8 0 = J o h n Walter H i l l (ed.), Studies in Musicology in Honor of Otto E. Albrecht ( K a s s e l , 1 9 8 0 ) . A L F O N Z O , P I O , L'antifonario delTUffizio Romano: Note suite origini delta composizione dei testi (Monografie liturgiche, 3 ; Subiaco, 1935).

/ responsori biblici delVUffizio Romano ( L a t e r a n u m , N S , 2/1; R o m e , 1936). A L L / W O R T H , C H R I S T O P H E R , ' T h e M e d i e v a l Processional: D o n a u e s c h i n g e n M S 882', EL (1970), 1 6 9 - 8 6 . A L M E I D A , F O R T U N A T O D E , Historia 2 n d e d n . , 1930). da igreja em Portugal,

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e

' L e L i b e r misticus de C o m b r e t , au diocese d ' E l n e ' , EG 20 (1981), 5 - 6 8 . A N D E R S E N , M . G E E R T , and R A A S T E D , J 0 R G E N , Inventar over Det kongelige Biblioteks fragmentsamling [Inventory of the Fragment Collection i n the Royal L i b r a r y ] (Hjaelpemidler, 6; C o p e n h a g e n , 1983). A N D E R S O N , G O R D O N A . (ed.), The Las Huelgas Manuscript, Burgos, Monasterio de Huelgas, 2 vols. ( C o r p u s mensurabilis musicae, 7 9 ; R o m e , 1982). A N D E R S O N ( G O R D O N ) G e d e n k s c h r i f t 1984 = Gordon Athol Anderson (1929-1981) memoriam, 2 vols. ( H e n r y v i l l e - O t t a w a - B i n n i n g e n , 1984).
ANDERSON, W A R R E N , 'Alypius', NG.

las in

A N D O Y E R , R A P H A E L , ' L e C h a n t r o m a i n antegregorien', RCG 20 ( 1 9 1 1 - 1 2 ) , 6 9 - 7 5 , 1 0 7 - 1 4 . ' L ' A n c i e n n e L i t u r g i e de Benevent', RCG 20 ( 1 9 1 1 - 1 2 ) , 1 7 6 - 8 3 ; 21 ( 1 9 1 2 - 1 3 ) , 1 4 - 2 0 , 4 4 - 5 1 , 8 1 - 5 , 1 1 2 - 1 5 , 1 4 4 - 8 , 1 6 9 - 7 4 ; 22 ( 1 9 1 3 - 1 4 ) , 8 - 1 1 , 4 1 - 4 , 8 0 - 3 , 1 0 6 - 1 1 , 1 4 1 - 5 , 1 7 0 - 2 ; 23 ( 1 9 1 9 - 2 0 ) , 4 4 - 5 0 , 1 1 6 - 1 8 , 1 5 1 - 3 , 1 8 2 - 3 ; 24 ( 1 9 2 0 - 1 ) , 4 8 - 5 0 , 8 7 - 9 , 1 4 6 - 8 , 182-5. A N D R I E U , M I C H E L , 'Reglement d ' A n g i l r a m n e de M e t z (768-791) fixant les honoraires de quelques fonctions l i t u r g i q u e s ' , Revue des sciences religieuses, 10 (1930), 3 4 9 - 6 9 . Les Ordines Romani du haut moyen age ( S p i c i l e g i u m sacrum L o v a n i e n s e , 11, 2 3 - 4 , 2 8 - 9 ; Louvain, 1931-61). Le Pontifical romain au moyen age ( S t u d i e testi, 8 6 - 8 , 9 9 ; R o m e , 1 9 3 8 - 4 1 ) . A N D R I E U Festschrift 1956 = Melanges en VhonneurdeM. Michel Andrieu (Strasburg, 1956). A N G E R E R , J O A C H I M F R I D O L I N , Die liturgisch-musikalische Emeuerung der Melker Reform: Studien zur Erforschung der Musikpraxis in den Benediktinerklbstern des 15. Jahrhunderts (Osterreichische A k a d e m i e der Wissenschaften, Philologisch-historische K l a s s e , 2 8 7 ; V i e n n a , 1974). ' D i e Consuetudines Monasticae als Quelle f u r die M u s i k w i s s e n s c h a f t ' , i n H a b e r i Festschrift 1977, 237. Lateinische und deutsche Gesdnge aus der Zeit der Melker Reform ( F o r s c h u n g e n z u r alteren M u s i k g e s c h i c h t e , 2 ; V i e n n a , 1979). A N G L E S , H I G I N I , ' E p i s t o l a farcida del m a r t i r i de Sant Esteve', Vida cristiana, 9 (1922), 6 9 75. (ed.), El codex musical de I^as Huelgas (Miisica a veus dels segles XIII-XIV), 3 vols. (Biblioteca de C a t a l u n y a , P u b l i c a c i o n s del Departament de M u s i c a , 6; Barcelona, 1931). La musica a Catalunya fins al segle XIII (Biblioteca de C a t a l u n y a , P u b l i c a c i o n s del Departament de M u s i c a , 10; Barcelona, 1935). ' L a musica medieval en T o l e d o hasta el siglo X T , Gesammelte Aufsdtze zur Kulturgeschichte Spaniens, 7 (Spanische F o r s c h u n g e n der Gorresgesellschaft, M i n i s t e r , 1938), 1 - 6 8 . Historia de la rnusica medieval en Navarra ( P a m p l o n a , 1970). 1st s e r . ;

A N G L E S , I I I G I N I and S U B I R A , J O S E , Catdlogo musical de la Biblioteca nacional de Madrid, 1: Manuscritos (Barcelona, 1946). A N G L E S Festschrift 1958-61 = Misceldnea en homenaje a Monsehor Higinio Angles, 2 vols. (Barcelona, 1958, 1961). Antifonario visigotico mozdrabe de la catedral de Leon ( M o n u m e n t a H i s p a n i a e sacra, serie l i t u r g i c a , v/2; M a d r i d , 1953) (see also B r o u and V i v e s 1959). Antiphonale Hispaniae vet us (s. X-XI). Biblioteca de la Universidad de Zaragoza (Saragossa, 1986). Antiphonale 1935). Antiphonale (1943). missamm juxta ritum sanctae ecclesiae Mediolanensis secundum traditionem Helveticae [ed. G . M . Suriol] ( R o m e , Congregationis Benedictinae

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' F r o m " V i t i u m " to " T o n u s acquisitus": O n the E v o l u t i o n of the N o t a t i o n a l M a t r i x of M e d i e v a l C h a n t ' , i n C a n t u s Planus 1990, 1 8 1 - 9 7 . 'Parapter', Handwdrterbuch der musikalischen Tenninologie, e d . H a n s - H e i n r i c h Eggebrecht ( M a i n z , 1 9 7 1 - ). A U D A , A N T O I N E , LEcole musicale liegeoise au A " ' siecle: Etienne de Liege (Brussels, 1923). I^es Modes et les tons de la musique et specialement de la musique medievale (Academie royale de B e l g i q u e . Classe des beaux arts. M e m o i r e s , i i i , pt. 1; Brussels, 1930). Contribution a Vhistoire de Vorigine des modes et des tons gregoriens ( G r e n o b l e , 1932) = RCG 36 (1932), 3 3 - 9 , 7 2 - 7 , 1 0 5 - 1 1 , 1 3 0 - 2 . A U G U S T I N E , S T , De musica, a Synopsis, e d . W . F . J . K n i g h t ( L o n d o n , 1949). On Music: De musica. The Fathers of the Church, a New Translation, trans. R . C . T a l i a f e r r o ( W r i t i n g s of Saint A u g u s t i n e , 2 ; N e w Y o r k , 1947), 1 5 3 - 3 7 9 . A V E N A R Y , H A N O C H , ' T h e N o r t h e r n and S o u t h e r n I d i o m s of E a r l y E u r o p e a n M u s i c : A N e w A p p r o a c h to an O l d P r o b l e m ' , AcM 49 (1977), 2 7 - 4 9 . A V E R Y , M Y R T I L L A , The Exultet Rolls of South Italy ( P r i n c e t o n , N J , 1936). B A B B , W A R R E N , Hucbald, Guido, and John on Music, e d . , w i t h i n t r o d u c t i o n s , b y C l a u d e V . Palisca, index of chants b y A l e j a n d r o E n r i q u e Planchart ( N e w H a v e n , C o n n . , 1978). B a g n a l l see Y a r d l e y . B A I L E Y , T E R E N C E , The Processions of Sarum and the Western Church ( T o r o n t o , 1971). The Intonation Fonnulas of Western Chant ( T o r o n t o , 1974).
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BARDOS, K O R N L , Volksmusikartige Variierungstechnik in den ungarischen Passionen, 15. bis 18. Jahrhundert ( M u s i c o l o g i a H u n g a r i c a , N S , 5 ; Budapest, 1975). B A R E Z Z A N I , M A R I A T E R E S A R O S A , La notazione neumatica di un codice bresciano (secolo XI) ( C r e m o n a , 1981). B A R O F F I O , B O N I F A Z I O , Die Offertorien der ambrosianischen Kirche: Vorstudie zur kiiiischen Ausgabe der maildndischen Gesdnge ( D i s s . , C o l o g n e U n i v e r s i t y , 1964). 'Die mailandische U b e r l i e f e r u n g des O f f e r t o r i u m s Sanctificavit\ i n Stablein Festschrift 1967, 1 - 8 . ' A m b r o s i a n i s c h e L i t u r g i e ' , i n Fellerer 1972, 191-204. ' L e origini del canto liturgico nella C h i e s a latina e la formazione dei repertori italici', Renovatio, 13 (1978), 2 6 - 5 2 . 'Benevent', MGG (supplement).
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see also Carmina Burana. B I S H O P , E D M U N D , Liturgica historica ( O x f o r d , 1918). B I S H O P , W I L L I A M C H A T T E R L Y , The Mozarabic and Ambrosian Rites: Comparative Liturgiology ( A l c u i n C l u b T r a c t s , 15; L o n d o n , 1924).
T

Four

Essays

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B J O R K , D A V I D , ' E a r l y Repertories of the Kyrie Eleison',

Kmjb

6 3 - 4 (1979-80), 9 - 4 3 .

' O n the D i s s e m i n a t i o n of Quern quaeritis and the Visitatio Sepulchri and the C h r o n o l o g y of their E a r l y Sources', Comparative Drama, 14 (1980), 4 6 - 6 9 . ' E a r l y Settings of the K y r i e Eleison and the P r o b l e m of G e n r e D e f i n i t i o n ' , JPMMS 3 (1980), 4 0 - 8 . ' T h e K y r i e T r o p e ' , JAMS 33 (1980), 1 - 4 1 . ' T h e E a r l y F r a n k i s h K y r i e T e x t : A Reappraisal', Viator, 12 (1981), 9 - 3 5 . B J O R K V A L L , G U N I L L A , 'Offertory Prosulas for A d v e n t i n Italian and A q u i t a n i a n M a n u s c r i p t s ' , i n C a n t u s Planus 1990, 3 7 7 - 4 0 0 . and S T E I N E R , R U T H , ' S o m e Prosulas for Offertory A n t i p h o n s ' , JPMMS 5 (1982), 1 7 - 3 5 . see also C T . B L A C H L E Y , A L E X , ' S o m e Observations o n the " G e r m a n i c " Plainchant T r a d i t i o n ' , i n Sanders Festschrift 1990, 8 5 - 1 1 7 . B L A N C H A R D , P . , ' L a Correspondance apocryphe d u pape S . Damase et de S . J e r o m e sur le psautier et le chant de l " A l l e l u i a " ' , EL 63 (1949), 3 7 6 - 8 8 .
BLEZZARD, JUDITH, R Y L E , S T E P H E N , and A L E X A N D E R , J O N A T H A N , ' N e w P e r s p e c t i v e s on the

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C L A I R E , J E A N , ' L e R i t u e l quadragesimal des catechumencs a M i l a n ' , i n G y Festschrift 1990, 131-51. C L A R K , J . M . , The Abbey of St. Gall as a Centre of Literature and An ( C a m b r i d g e , 1926). C L E M O E S Festschrift = M i c h a e l L a p i d g e and H e l m u t G n e u s s (eds.), learning and Literature in Anglo-Saxon England ( C a m b r i d g e , 1985). C M 1 (Stuttgart and V i e n n a , 1900) = Consuetudines Farfenses. C M 2 (Montecassino, 1905) = Consuetudines Cluniacenses antiquiores. C M 3 (Montecassino, 1907) = Statuta Murbacensia, Capitula Aquisgranensia. C M 4 (Montecassino, 1911) = Consuetudines Fruetuarieuses (etc.). C M 5 (Montecassino, 1912) = Redactio consuetudinem saeculi duodecimi (etc.). C O C H E R I L , M A U R , UEvolution historique du kyriale cistercien ( P o r t - d u - S a l u t , 1956). ' L e " T o n a l e Sancti B e r n a r d i " et la definition d u " t o n " ' , Citeaux: Commentarii cistercienses, 13 (1962), 3 5 - 6 6 . Codex Albensis, ein Antiphonar aus dem 12. fahrhunden, ed. Zoltan Falvy and L . Mezey ( M o n u menta H u n g a r i a e musicae, 1; Budapest, 1963) [fac. of G r a z , U n i v e r s i t a t s b i b l i o t h e k , 211]. C O D Y , A E L R E D , ' T h e E a r l y H i s t o r y of the Octoechos i n S y r i a ' , i n G a r s o i a n , M a t h e w s , and T h o m s o n 1982, 8 9 - 1 1 3 . C O L E T T E , M A R I E - N O E L , ' L a N o t a t i o n d u d e m i - t o n dans le manuscrit Paris, B . N . L a t . 1139 et dans quelques manuscrits d u S u d de la France', i n L e o n a r d i and Menesto 1990, 2 9 7 - 3 1 1 . C O L G R A V E , B E R T R A M , The Earliest Life of Gregory the Great by an Anonymous Monk ofWliitby ( L a w r e n c e , K a n s a s , 1968). C O L L I N S , A . J E F F E R I E S , Manuale ad usum percelebris ecclesie Sarisburiensis (Henry Bradshaw Society, 9 1 ; Chichester, 1960). The Bridgettine Breviary of Syon Abbey: From the MS. with English Rubrics F. 4. 11 at Magdalene College, Cambridge ( H e n r y Bradshaw Society, 9 6 ; Worcester, 1969). C O M B E , P I E R R E , Histoire de la restauration du chant gregorien d'apres des documents Solesmes et Vedition vaticane (Solesmes, 1969). Congress Berkeley 1977 = D a n i e l Heartz and Bonnie Wade (eds.), International inedits:

Musicological

Society: Repon of the Twelfth Congress Berkeley 1977 ( K a s s e l , 1981). Congress B e r l i n 1974 = H e l m u t K u h n and Peter N i t s c h e (eds.), Gesellschaft fur Musikforschung: Bericht ilber den internationalen musikwissenschaftlichen Kongre/J Berlin 1974 ( K a s s e l , 1977). Congress Bologna 1987 = Atti del XIV congresso delta Societd Internazionale di Musicologia: Trasmissione e recezione delle forme di cultura musicale, Bologna, 27 agosto-1 settembre 1987, e d . A n g e l o P o m p i l i o , D o n a t e l l a Restani, L o r e n z o B i a n c o n i , and F . A l b e r t o G a l l o , 3 vols. ( R o m e , 1990). Congress C l u n y 1949 = A Cluny: Congres scientifique: Fetes et ceremonies liturgiques en Vhonneur des saints abbes Odon et Odilon 9-11 pallet 1949 ( D i j o n , 1950). Congress Cologne 1958 = G . A b r a h a m , S. Clercx-Lejeune, H . Federhofer, and W . Pfannkuch (eds.), International Musicological Society: Bericht uber den siebenten internationalen musikwissenschaftlichen Kongress Koln ( K a s s e l , 1959). Congress C o p e n h a g e n 1972 = International Musicological Society: Report of the Eleventh Congress Copenhagen 1972 (Copenhagen, 1974). Congress H a m b u r g 1956 = W . Gerstenberg, H . H u s m a n n , and I I . H e c k m a n n (eds.), Gesellschaft fur Musikforschung: Bericht uber den internationalen musikwissenschaftlichen Kongrefi Hamburg 1956 ( K a s s e l , 1957).

C o n g r e s s Kassel 1962 = G . Reichert and M . Just (eds.), Gesellschaft fur Musikforschung: Bericht uber den internationalen musikwissenschaftlichen Kongreji Kassel 1962 ( K a s s e l , 1962). C o n g r e s s L e i p z i g 1925 = Bericht uben den I. musikwissenschaftlichen Kongreji Musikgesellschaft in Leipzig vom 4. bis 8. jfuni 1925 ( L e i p z i g , 1926). Congress N e w Y o r k 1961 = J a n L a R u e (ed.), International the Eighth Congress New York 1961 ( K a s s e l , 1962). Musicological der deutschen

Society: Report of

C o n g r e s s Salamanca 1985 = Espaha en la Musica de Occidente: Actas del Congreso Internacional celebrado en Salamanca (29 de octubre-5 de noviembre de 1985), e d . E m i l i o Casares R o d i c i o , Ismael Fernandez de la Cuesta, and Jose L o p e z - C a l o , 2 vols. ( M a d r i d , 1987). Congress Strasburg 1982 = M a r c Honegger, C h r i s t i a n M e y e r , a n d P a u l Prevost (eds.), La Musique et le rite sac re et profane: Actes du XIIE Congres de la Societe Internationale de Musicologie Strasbourg 1982, 2 vols. (Strasburg, 1986). Congress T o d i 1958 = Spiritualitd cluniacense, 12-15 ottobre 1958 ( C o n v e g n i del C e n t r o d i s t u d i sulla spiritualita medievale, 2 ; T o d i , 1960). Congress U t r e c h t 1952 = International M u s i c o l o g i c a l Society, Report of the Fifth Utrecht 1952 ( A m s t e r d a m , 1953). Congress V i e n n a 1954 = Zweiter internationaler Kongreji fur katholische Kirchenmusik Bericht Congress Wien uber

4.-10. Oktober 1954: Bericht ( V i e n n a , 1956). Congress V i e n n a 1956 = E r i c h Schenk (ed.), Gesellschaft den internationalen C o l o g n e , 1958). musikwissenschaftlichen Kongreji

fur Musikforschung: Wien, Mozartjahr

1956 ( G r a z a n d

C O N N O L L Y , T H O M A S H . , ' T h e Introits and C o m m u n i o n s of the O l d R o m a n C h a n t ' ( D i s s . , H a r v a r d U n i v e r s i t y , 1972). 'Introits a n d A r c h e t y p e s : S o m e A r c h a i s m s of the O l d R o m a n C h a n t ' , JAMS IS (1972), 157-74. ' T h e G r a d u a l e of S. C e c i l i a i n Trastevere and the O l d R o m a n T r a d i t i o n ' , JAMS 28 (1975), 4 1 3 - 5 8 . ' M u s i c a l Observance of T i m e i n E a r l y R o m a n C h a n t ' , i n O t t o A l b r e c h t Festschrift 1980, 3-18. ' P s a l m II', NG. C O N S T A B L E , G I L E S , Medieval Monasticism: A Select Bibliography (Toronto Medieval Bibliographies, 6; T o r o n t o , 1976). Constitution on the Sacred Liturgy of the Second Vatican Council, i n A u s t i n P . F l a n n e r y (ed.), Documents of Vatican II ( G r a n d R a p i d s , M i c h . , 1975; 2 n d e d n . , 1984), 1 - 2 8 2 . C O N T R E N I , J O H N , The Cathedral School of Laon from 850-930: Its Manuscripts and Masters ( M u n i c h , 1978). C O N Y B E A R E , F R E D E R I C K C . (ed.), Philo: About the Contemplative Life or the Fourth Book of the Treatise Concerning Virtues ( L o n d o n , 1895). C O R B I N , S O L A N G E , La Musique religieuse portugaise au Moyen-Age (Paris, 1952). ' L e Cantus Sibyllae: O r i g i n e s et premiers textes', Revue de musicologie, 34 (1952), 1 10. ' L e M a n u s c r i t 201 d ' O r l e a n s : D r a m e s liturgiques dits de F l e u r y ' , Romania, 74 (1953), 1-43. ' V a l e u r et sens de la notation alphabetique a Jumieges et en N o r m a n d i e ' , i n Jumieges: Congres scientifique du XIIF centenaire, i i ( R o u e n , 1955), 9 1 3 - 2 4 .

C O R B I N , S O L A N G E , I m Deposition liturgique du Christ au Yendredi Saint: Sa Place da?is rhistoire des rites et du theatre religieux. Analyse des documents portuguais (Paris, 1960). LEglise a la conquete de sa musique (Paris, 1960). Die Neumen (Palaeographie der M u s i k , i/3; C o l o g n e , 1977). ' N e u m a t i c N o t a t i o n s , I - I V , NG. C O R N F O R D , F R A N C E S M A C D O N A L D , Plato's Cosmology: The Tirnaeus of Plato Translated a Running Commentary ( L o n d o n , 1937). C O U S S E M A K E R , E D M O N D D E , Histoire de Vharirionie au moyen-age (Paris, 1852). with

Drames liturgiques du moyen-age (Paris, 1861). see also C S . C O W D R E Y , H E R B E R T E . J . , The Cluniacs and the Gregorian Reform ( O x f o r d , 1970). The Age of Abbot Desiderius: Montecassino, the Papacy and the Normans in the Eleventh and Early Twelfth Centuries ( O x f o r d , 1983). C R O C K E R , R I C H A R D L . , ' T h e Repertoire of Proses at Saint M a r t i a l de L i m o g e s ( T e n t h and E l e v e n t h C e n t u r i e s ) ' ( D i s s . , Y a l e U n i v e r s i t y , 1957; U M I 6 8 - 4 9 1 5 ) . 'The Repertory of Proses at Saint M a r t i a l de L i m o g e s i n the 10th C e n t u r y ' , JAMS (1958), 1 4 9 - 6 4 . 'Musica rhythmica and Musica metrica i n A n t i q u e and M e d i e v a l T h e o r y ' , Journal Music Theory, 2 (1958), 2 - 2 3 . ' D i s c a n t , C o u n t e r p o i n t and H a r m o n y ' , JAMS 15 (1962), 1 - 2 1 . 'Pythagorean M a t h e m a t i c s and M u s i c ' , Journal of Aesthetics and Art Criticism, (1963), 1 8 9 - 9 8 , 3 2 5 - 3 5 . 'The T r o p i n g H y p o t h e s i s ' , MO 52 (1966), 1 8 3 - 2 0 3 . ' A r i s t o x e n u s a n d G r e e k M a t h e m a t i c s ' , i n Reese Festschrift 1967, 9 6 - 1 1 0 . ' A N e w Source for M e d i e v a l M u s i c T h e o r y ' , AcM 39 (1967), 1 6 1 - 7 1 . ' S o m e N i n t h - C e n t u r y Sequences', JAMS 20 (1967), 3 6 7 - 4 0 2 . ' H e r m a n n ' s M a j o r S i x t h ' , JAMS 25 (1972), 1 9 - 3 7 . 'The Sequence', i n Schrade G e d e n k s c h r i f t 1973, 2 6 9 - 3 2 2 . The Early Medieval Sequence (Berkeley, C a l i f . , 1977). ' A l p h a b e t N o t a t i o n s for E a r l y M e d i e v a l M u s i c ' , i n Charles Jones Festschrift 1979, i i . 7 9 104. ' M a t i n s A n t i p h o n s at St. D e n i s ' , JAMS 39 (1986), 4 4 1 - 9 0 . arts. ' A g n u s D e i ' , ' C r e d o ' , ' G l o r i a i n excelsis D e o ' , ' K y r i e eleison', ' S a n c t u s ' , 'Sequence (i)', 'Versus', NG. and H I L E Y , D A V I D (eds.), New Oxford History of Music, i i . The Early Middle Ages to 1300 (2nd e d n . , O x f o r d , 1989). C S E R B A , S I M O N M . (ed.), Hieronymus de Moravia O P., Tract at us de musica ( F r e i b u r g c r S t u d i e n z u r M u s i k w i s s e n s c h a f t , 2 ; Regensburg, 1935). CSM 1 (1950) = Johannis Affligemensis De musica cum tonario, e d . Joseph S m i t s van Waesberghe. C S M 2 (1951) = Aribonis De rnusica, e d . Joseph S m i t s van Waesberghe. C S M 3 (7 v o l s . , 1955-73) = Jacobi Leodiensis Speculum rnusicae, e d . Roger B r a g a r d . C S M 4 (1955) = Guidonis Aretini Micrologus, e d . Joseph S m i t s van Waesberghe. CSM 14 (1970) = Walteri Odington Summa de speculatione rnusicae, e d . F r e d e r i c k F . Hammond. CSM CSM 21 (1975) = Aureliani Reomensis Musica disciplina, e d . L a w r e n c e G u s h e e . 23 (1975) = Willehelmi Hirsaugensis Musica, e d . D e n i s H a r b i n s o n . 11 of

22

C S M 24 (1974) = Epistola S. Bemardi de revisione cantus Cisterciensis et Tractatus scriptus ab auctore incerto Cisterciense, Can turn quern Cisterciensis ordinis ecclesiae cant are corisueverant, ed. Francis J . Guentner. C S M 25 (1975) = Ameri Practica art is musice, e d . Cesarino R u i n i . C S M 29 (1976) = Petrus de Cruce Ambianensifs]': Tractatus de Tonis, e d . D e n i s H a r b i n s o n . C T 1 ( S L S 2 1 , 1975) = Tropes du propre de la messe 1: Cycle de Noel, e d . R i t v a J o n s s o n . C T 2 ( S L S 2 2 , 1976) = Prosules de la messe 1: Tropes de Valleluia, ed. Olof Marcusson. C T 3 ( S L S 2 5 , 1982) = Tropes du propre de la messe 2: Cycle de Pdques, e d . G u n i l l a B j o r k v a l l , G u n i l l a Iversen, and R i t v a Jonsson. CT CT CT CT 4 5 6 Eva ( S L S 2 6 , 1980) = Tropes de VAgnus Dei, e d . G u n i l l a Iversen. ( S L S 32, 1986) = Les Deux Tropaires d'Apt, mss. 17 et 18, e d . G u n i l l a B j o r k v a l l . ( S L S 3 1 , 1986) = Prosules de la messe 2: I^es prosules limousines de Wolfenbuttel, e d . Odelman. e d . G u n i l l a Iversen.

7 ( S L S 34, 1990) = Tropes du Sanctus,

C U R R A N , M . , The Antiphonaiy of Bangor and the Early Irish Monastic Liturgy ( D u b l i n , 1984). C U T T E R , P A U L F . , T h e Q u e s t i o n of the " O l d - R o m a n " C h a n t : A Reappraisal', A c M 39 (1967), 2-20. ' T h e O l d - R o m a n C h a n t T r a d i t i o n : O r a l or W r i t t e n ? ' , JAMS 20 (1967), 1 6 7 - 8 1 . ' T h e O l d - R o m a n Responsories of M o d e 2' ( D i s s . , P r i n c e t o n U n i v e r s i t y , 1969; U M I 70 08358). 'Die altromischen u n d gregorianischen Responsorien i m zweiten M o d u s ' , Kmjfb 54 (1970), 3 3 - 4 0 . ' O r a l T r a n s m i s s i o n of the O l d - R o m a n Responsories?', MQ 62 (1976), 1 8 2 - 9 4 . Musical Sources of the Old-Roman Mass ( M u s i c o l o g i c a l Studies a n d D o c u m e n t s , 3 6 ; N e u h a u s e n - S t u t t g a r t , 1979). [ ] 'Responsory', NG. D A D E L S E N Festschrift 1978 = T h o m a s K o h l h a s e and V o l k e r Scherliess (eds.), Festschrift Georg von Dadelsen zum 60. Geburtstag (Neuhausen-Stuttgart, 1978). D A H L H A U S Festschrift 1988 = H . D a n u s e r , H . de la M o t t e - I l a b e r , S . L e o p o l d , and N . M i l l e r (eds.), Das musikalische Kunstwerk: Geschichte-Asthetik-Theorie. Festschrift Carl Dahlhaus zum 60. Geburtstag (Laaber, 1988). D A L T O N , J . N . and ( v o l . i v ) D O B L E , G . , Ordinate Exon ( H e n r y Bradshaw Society, 37, 38, 63, and 7 9 ; L o n d o n , 1909, 1909, 1926, and 1941). D A M I L A N O , P I E R O , ' L a u d i latine i n u n antifonario bobbiese del trecento', Collectanea historiae rnusicae, 3 (1963), 1 5 - 5 7 . 'Sequenze bobbiese', RIM 2 (1967), 3 - 3 5 . D ' A N G E R S , O . , ' L e C h a n t liturgique dans l ' O r d r e de Saint-Frangois a u x origines', Etudes frauds caines, 25 (1975), 157-306. D A V I D , L U C I E N , a n d H A N D S C H I N , J A C Q U E S , ' U n point d'histoire gregorienne. G u i l l a u m e de F e c a m p ' , RCG 39 ( 1 9 3 5 - 6 ) , 1 8 0 - 3 ; 40 ( 1 9 3 6 - 7 ) , 1 1 - 1 7 (see also H a n d s c h i n 1 9 3 6 - 8 ) . D A V I E S , J O H N G . (ed.), A Dictionary of Liturgy and Worship ( L o n d o n , 1972). A New Dictionary of Liturgy and Worship ( L o n d o n , 1986). D A V R I L , A N S E L M E , ' A propos d ' u n breviaire manuscrit de C l u n y conserve a S a i n t - V i c t o r - s u r R h i n s ' , RB 93 (1983), 1 0 8 - 2 2 . 'Johann D r u m b l and the O r i g i n of the Quern quaeritis: A R e v i e w A r t i c l e ' , Comparative Drama, 20 (1986), 6 5 - 7 5 . D E A N E S L Y , M A R G A R E T , Augustine of Canterbury ( L o n d o n , 1964).

D E C H E V R E N S , A N T O I N E , Etudes de science musicale,

3 vols. (Paris, 1898).

Composition musicale et composition litteraire a propos du chant gregorien, 2 vols. ( P a r i s , 1910). D E L A L A N D E , D O M I N I Q U E , Vers la version authentique du Graduel gregorien: I^e Graduel des Precheurs ( B i b l i o t h e q u e d'histoire D o m i n i c a i n e , 2; Paris, 1949). D E L A P O R T E , Y V E S , ' F u l b e r t de Chartres et l'ecole chartraine de chant l i t u r g i q u e au x i siecle', EG 2 (1957), 5 1 - 8 1 .
c

' L ' O f f i c e fecampois de saint T a u r i n ' , L'Abbaye benedictine de Fecamp, ouvrage saentifique du XIIP centenaire, 658-1958 ( F e c a m p , 1 9 5 9 - 6 0 ) , i i . 1 7 1 - 8 9 , 377. D E L G L I S E , F R A N C O I S , ' " I l l u s t r i s civitas", office rime de saint T h e o d u l e ( x m siecle)', Vallesxa, 38 ( S i o n , 1983), 173-308. D E S H U S S E S , J E A N , Le Sacramentaire gregorien: Ses principales formes d'apres les plus anciens
e

manuscrits ( S p i c i l e g i u m Friburgense, 16; F r i b o u r g , 1971; 2 n d e d n . , 1979), and 24 (1979). and D A R R A G O N , B . , Concordances et tableaux pour Vetude des grands sacrament aires (Spicilegii Friburgensis Subsidia, 9 - 1 4 ; Fribourg, 1982-3). D E W I C K , E . S . , a n d ( v o l . ii) F R E R E , W . H . , The I^eofric Collector ( H e n r y Bradshaw Society, 45 a n d 5 6 ; L o n d o n , 1914, 1921). D I C K I N S O N , F R A N C I S H E N R Y (ed.), Missale ad usian insignis et praeclarae ecclesiae Saturn (Burntisland, 1861-83). V A N D I J K , S . J . P . , 'St B e r n a r d and the Instituta Pat rum of St G a l l ' , MD 4 (1950), 9 9 - 1 0 9 . ' T h e L e g e n d of "the M i s s a l of the Papal C h a p e l " and the Fact of C a r d i n a l O r s i n i ' s R e f o r m ' , Sacris erudiri, 8 (1956), 7 6 - 1 4 2 . ' T h e A u t h e n t i c M i s s a l of the Papal C h a p e l ' , Scriptorium, 14 (1960), 2 5 7 - 3 1 4 . ' T h e U r b a n and Papal Rites i n Seventh- and E i g h t h - C e n t u r y R o m e ' , Sacris erudiri, 12 (1961), 4 1 1 - 8 7 . ' T h e O l d - R o m a n R i t e ' , Studia patristica, 5, T e x t e u n d U n t e r s u c h u n g e n , 80 (1962), 185-205. 'Papal S c h o l a "versus" Charlemagne', i n S m i t s van Waesberghe Festschrift 1963, 2 1 - 3 0 . ' G r e g o r y the Great F o u n d e r of the U r b a n " S c h o l a c a n t o r u m ' " , EL 77 (1963), 3 3 5 - 5 6 . Sources of the Modern Roman Liturgy: The Ordinals by IIay mo of Faversham and Related Documents (1243-1307), 2 vols. ( L e i d e n , 1963). 'Recent D e v e l o p m e n t s i n the S t u d y of the O l d - R o m a n Rite', Studia patristica, 8, T e x t e u n d U n t e r s u c h u n g e n , 93 (1966), 2 9 9 - 3 1 9 . ' T h e M e d i e v a l Easter Vespers of the R o m a n C l e r g y ' , Sacris erudiri, 19 ( 1 9 6 9 - 7 0 ) , 2 6 1 363. (completed b y Joan H a z e l d e n W a l k e r ) , The Ordinal of the Papal Court from Innocent III to Boniface VIII, and Related Documents ( S p i c i l e g i u m F r i b u r g e n s e , 2 2 ; F r i b o u r g , 1975). and W A L K E R , J O A N H A Z E L D E N , The Origins of the Modern Roman Liturgy: The Liturgy of the Papal Court and the Franciscan Order in the Thirteenth Century ( L o n d o n , 1960). D i x , G R E G O R Y , The Shape of the Liturgy ( L o n d o n , 1945). D M A A . I (1975) = De nurnero tonorum litterae episcopi A. ad coepiscopum E. missue ac Comment urn super tonos episcopi E. (ad 1000). D M A A . II (1981) = Adaboldi Episcopi Ultraiectensis: Per rnusicae instrumentalis art em ad harmoniarn rnusicae mundanae (ad 1025). D M A A . I l l (1975) = Tres tractatuli Guidonis Aretini. [1] Guidonis Prologus in antiphonariurn. D M A A . I V (1985) = Tres tractatuli Guidonis Aretini. [2] Guidonis Aretini Regulae rhythmic ae.

[DMA A . V = T r e s tractatuli G u i d o n i s A r e t i n i . [3] G u i d o n i s A r e t i n i E p i s t o l a ad M i c h a e l e m d i d not appear]. D M A A . V i a (1978) = Bernonis Augiensis abbatis de arte rnusica disputationes traditae, pars A: Bernonis Augiensis De rnensurando rnonochordo. D M A A . V I f e (1979) = Bernonis Augiensis abbatis de arte rnusica disputationes B: Quae ratio est inter tria opera de arte rnusica Bernonis Augiensis. D M A A . V I I (1977) = Musica Dornni Heinn'ci Augustensis magistri. D M A A . V i l l a (1988) = Surnmula: Tractatus metricus de musica. DMA A . X a (1979) = Codex Oxoniensis Bibliothecae Bodleianae, Rawlinson C 270, pars A: C 270, pars B: De vocum consonantiis ac De re musica (Osberni D M A A.Xb (1979) = Codex Oxoniensis Bibliothecae Cantuariensis?). Bodleianae, Rawlinson traditae, pars

A T 7 / tractatuli a quodam studioso peregrino ad annum MC collecti. D O B S O N , E R I C J . , a n d H A R R I S O N , F R A N K L L . , Medieval English Songs ( L o n d o n , 1979). D O B S Z A Y , L A S Z L 6 , ' T h e S y s t e m of the H u n g a r i a n P l a i n s o n g Sources', SMH 21 (1985), 3 7 - 6 5 . ' T h e P r o g r a m " C A O - E C E " ' , SMH 30 (1988), 3 5 5 - 6 0 . ' E x p e r i e n c e s i n the M u s i c a l Classification of A n t i p h o n s ' , i n C a n t u s Planus 1990, 1 4 3 - 5 6 . ' P l a i n c h a n t i n M e d i e v a l H u n g a r y ' , JPMMS 13 (1990), 4 9 - 7 8 . Centralis Europae: Ein A a n d P R 6 S Z E K Y , G A B O R , Corpus Antiphonalium OfficiiEcclesiarum Preliminary Report (Budapest, 1988). D O L D , A L B A N , Das al teste Liturgiebuch der lateinischen Kirche:

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16 (1962), 3 6 9 -

F E L D E R , H I L A R I N , Die liturgischen Reimoffizien auf den heiligen Franciscus und Antonius. Gedichtet und componiert dutch Julian von Speier ( F r i b o u r g , 1901). F E L L E R E R , K A R L G U S T A V , ' Z u r Choralpflege u n d C h o r a l l e h r e i m 17./18. J a h r h u n d e r t ' , Kmjb 56 (1972), 5 1 - 7 2 . (ed.), Geschichte der katholischen Kirchenmusik, i ( K a s s e l , 1972). 58-9 ' Z u r C h o r a l - R e s t a u r a t i o n i n F r a n k r e i c h urn die M i t t e des 19. J a h r h u n d e r t s ' , Kmjb (1974-5), 135-47.

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e e

( H e n r y B r a d s h a w Society, 8; L o n d o n , 1894). Bibliotheca musico-liturgica: A Descriptive Handlist of the Musical and Latin-liturgical MSS of the Middle Ages Preserved in the Libraries of Great Britain and Northern Ireland, i ( L o n d o n , 1894 a n d 1901), i i (1932). The Use of Sarum: I. The Sarum Customs as Set Eorih in the Consuetudinary and Customary ( C a m b r i d g e , 1898); //. The Ordinal and Tonal ( C a m b r i d g e , 1901). Pontifical Services ( A l c u i n C l u b C o l l e c t i o n s , 3 - 4 ; L o n d o n , 1901). The Principles of Religious Ceremonial ( L o n d o n , 1906: 2 n d e d n . , 1928). ( e d . ) , Pars antiphonarii ( L o n d o n , 1923) [fac. of D u r h a m Cathedral L i b r a r y B . i i i . 11]. Studies in Early Roman Liturgy, i: The Calendar ( A l c u i n C l u b C o l l e c t i o n s , 2 8 ; L o n d o n , 1930) . Studies in Early Roman Liturgy, ii: The Roman C o l l e c t i o n s , 30; L o n d o n , 1934). Studies in Early Roman Liturgy, Hi: The Roman C o l l e c t i o n s , 3 2 ; L o n d o n , 1935). and B R O W N , L A N G T O N E . G . , The Hereford Breviary and 46; L o n d o n , 1904, 1911, and 1915). see also AS; Graduate Sarisburiense. ' L ' A l l e l u i a dans l'usage r o m a i n et la reforme de saint G r e g o i r e ' , EL 62 Gospel-Lectionary Epistle-Lectionary (Alcuin (Alcuin Club Club

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Les Chants de la messe au VHP et LN siecles ( T o u r n a i , 1950) = RG 26 (1947), 1 6 5 - 7 2 , 2 1 8 - 2 8 ; 27 (1948), 5 6 - 6 2 ; 9 8 - 1 0 7 ; 28 (1949), 5 8 - 6 5 , 9 4 - 1 0 2 . ' L ' E d i t i o n critique de l ' A n t i p h o n a l e M i s s a r u m r o m a i n par les moines de Solesmes', EG 1 (1954), 1 5 1 - 7 . ' L ' E p T t r e de N o t k e r sur les "lettres significatives'", EG 5 (1962), 2 3 - 7 2 . La Critique des textes et son automatisation (Paris, 1968). ' L e s Pretendus Q u a r t s de ton dans le chant gregorien et les symboles d u m s . I I . 159 de M o n t p e l l i e r ' , EG 17 (1978), 1 4 5 - 7 9 . ' T h e C r i t i c a l E d i t i o n of the R o m a n G r a d u a l b y the M o n k s of Solesmes', JPMMS 1 (1978) , 8 1 - 9 7 . ' L a M e t h o d e de D o m Hesbert dans le v o l u m e V d u Corpus Antiphonalium Officii', EG 18 (1979) , 9 7 - 1 4 3 . ' L e F r a g m e n t de L u c q u e s (fin d u v i n siecle)', EG 18 (1979), 1 4 5 - 5 5 . ' L e L i e u de destination et de provenance d u " C o m p e n d i e n s i s " ' , i n C a r d i n e Festschrift 1980, 3 3 8 - 5 3 .
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' L a M e t h o d e de D o m Hesbert dans le v o l u m e V I d u Corpus Antiphonalium Officii', EG 19 (1980), 1 8 5 - 9 6 . F U L L E R , D A V I D , ' P l a i n c h a n t musical', NG. F U L L E R , S A R A H , ' A q u i t a n i a n P o l y p h o n y of the E l e v e n t h and T w e l f t h C e n t u r i e s ' ( D i s s . , U n i v e r s i t y of C a l i f o r n i a at Berkeley, 1969; U M I 7 0 - 1 3 0 5 1 ) . ' A n A n o n y m o u s Treatise dictus de Sancto Martiale: A N e w Source for C i s t e r c i a n M u s i c T h e o r y ' , MD 31 (1977), 5 - 3 0 . ' T h e o r e t i c a l F o u n d a t i o n s of E a r l y O r g a n u m T h e o r y ' , AcM 53 (1981), 5 2 - 8 4 . GAJARD, J O S E P H , I m Methode de Solesmes,
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GALLACHER, P A T R I C K J . , and D A M I C O ,

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H A M E L , A D A L B E R T , ' U b e r l i e f e r u n g u n d B e d e u t u n g des L i b e r Sancti Jacobi u n d des P s e u d o T u r p i n ' , Sitzungsberichte der philosophisch-historischen Klasse der Bayerischen Akademie
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e

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e e

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Ambrosianurn Ambrosianurn

du Musee du Musee

Britannique Britannique

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XL siecle: Codex H. 159 de la

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e e

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e e

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de Rome (XF Graz (XIP

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des 10. und 11. Jahrhunderts, ausgenommen das ambrosianische, alt-spanische und altromische Repertoire ( E r l a n g e r A r b e i t e n z u r M u s i k w i s s e n s c h a f t , 2 ; M u n i c h , 1965). ' E i n beneventanisches A l l e l u i a u n d seine P r o s u l a ' , i n S t a b l e i n Festschrift 1967, 2 1 7 - 2 5 . ' A n m e r k u n g e n z u d e n zweiten A l l e l u j a - V e r s e n ' , AfMzv 24 (1967), 1 9 9 - 2 1 9 . ' T h e M i c r o f i l m A r c h i v e of M e d i e v a l M u s i c M a n u s c r i p t s at the Institut f i i r M u s i k w i s s e n schaft of E r l a n g e n - N u r n b e r g U n i v e r s i t y ' , JPMMS 2 (1970), 6 1 - 4 . ' C h o r a l t e x t i e r u n g u n d M e l o d i e v e r s t a n d n i s i m f r u h e n u n d spaten M i t t e l a l t e r ' , in C a r d i n e Festschrift 1980, 3 1 4 - 3 7 . ' T r i n i t a s , D e l t a s , U n i t a s A T r o p e for the S a n c t u s of M a s s ' , JPMMS 6 (1983), 8 - 1 4 . ' T r o p e n als Forschungsbereich der M u s i k w i s s e n s c h a f t V o m Lebenslauf eines Melismas', in Iversen 1983, 1 7 - 2 8 . ' T e D e u m ' , MGG. ' A l l e l u i a . F , NG. see also Antiphonale Pataviense and M M M A 7 - 8 . S C H M I D , H A N S ( e d . ) , Musica et Scolica Enchiriadis una cum aliquibus tractatulis adiunctis (Bayerische A k a d e m i e der Wissenschaften, V e r o f f e n t l i c h u n g e n der M u s i k h i s t o r i s c h e n K o m m i s s i o n , 3 ; M u n i c h , 1981). S C H M I D , T O N I , ' S m a r r e l i t u r g i s k a b i d r a g V I I I . O m Sankt S w i t h u n u s m a s s e n i Sverige', Nordisk Tidskrift for Bok- och Biblioteksvasen, 31 ( U p p s a l a , 1944), 2 5 - 3 4 . see also Graduate Arosiense. S C H M I D T , H A N S , Untersuchungen zu den Tractus des zweiten Tons aus dem Codex St. Gallen 359 ( D i s s . , B o n n , 1955). ' D i e T r a c t u s des z w e i t e n T o n s i n G r e g o r i a n i s c h e r u n d stadtromischer U b e r l i e f e r u n g ' , i n S c h m i d t - G o r g Festschrift 1957, 2 8 3 - 3 0 2 . ' U n t e r s u c h u n g e n z u d e n T r a c t u s des zweiten T o n e s ' , Kmjb 42 (1958), 1 - 2 5 . ' G r e g o r i a n i k L e g e n d e oder W a h r h e i t ? ' , i n H u s c h e n Festschrift 1980, 4 0 0 - 1 1 . S C H M I D T , H E R M A N N , Hebdomada sancta, 2 vols. ( R o m e , 1956, 1957). S C H M I D T - G O R G Festschrift 1957 = D a g m a r Weise (ed.), Eestscluift Joseph Schmidt-Gorg zum 60. Geburtstag ( B o n n , 1957). S C H M I T Z , A R N O L D , ' E i n schlesisches C a n t i o n a l aus d e m 15. J a h r h u n d e r t ' , Archiv fiir Musikforschung, 1 (1936), 3 8 5 - 4 2 3 . S C H N E I D E R Festschrift 1955 = W a l t h e r Vetter (ed.), Festschrift Max Schneider zum achzigsten Geburtstage ( L e i p z i g , 1955). S C H O E N B A U M , C A M I L L O , ' H y m n o l o g i s c h e F o r s c h u n g i n der T s c h e c h o s l o w a k e i ' , Jahrbuch fiir Liturgik und Hymnologie, 5 (1960), 1 5 7 - 6 5 . S C H R A D E , L E O , ' D i e D a r s t e l l u n g der T o n e an d e n K a p i t e l l e n der A b t e i k i r c h e z u C l u n y ( E i n Beitrag z u m S y m b o l i s m u s i n mittelalterlicher K u n s t ) ' , Deutsche Vierteljahrsschrift fiir Literaturund Geisteswissenschaft, 7 (1929), 2 2 9 - 6 6 = S c h r a d e 1967, 1 1 3 - 5 1 . De scientia rnusicae studia atque orationes, e d . E r n s t L i c h t e n h a h n ( B e r n e , 1967). S C H R A D E G e d e n k s c h r i f t 1973 = W ulf A r l t , E r n s t L i c h t e n h a h n , and H a n s Oesch (eds.), Gattungen der Musik in Einzeldarstellungen: Gedenkschrift fiirl^o Schrade (Berne, 1973). S C H U B I G E R , A N S E L M , Die Sangerschule St. Gallens vom 8. bis 12. Jahrhundert: Ein Beitrag zur Gesangs geschichte des Mittelalters ( E i n s i e d e l n , 1858). S C H U E L L E R , H E R B E R T M . , The Idea of Music: An Introduction to Musical Aesthetics in Antiquity and the Middle Ages ( K a l a m a z o o , M i c h . , 1988). S C H U L E R , E R N S T A U G U S T , Die Musik der Osterfeiern, Osterspiele und Passionen des Mittelalters ( K a s s e l , 1951).
T

S C H U L E R , M A N F R E D , ' D i e M u s i k an d e n H o f e n der K a r o l i n g e r ' , AfMw 27 (1970), 2 3 - 4 0 . S C H W Y Z E R , E D U A R D , Griechische Grammatik ( H a n d b u c h der A l t e r t u m s w i s s e n s c h a f t , I I / l / l ; M u n i c h , 1939). S E A Y , A L B E R T , ' A n A n o n y m o u s T r e a t i s e f r o m S t . M a r t i a l ' , Annates 7-42. musicologiques, 5 (1957),

S E E B A S S , T I L M A N , ' M u s i k u n d M u s i k i n s t r u m e n t e i n der T o n a r i l l u s t r a t i o n : O r g a n o l o g i s c h e , stilistische u n d ikonographische S t u d i e a n h a n d der H a n d s c h r i f t P a r i s fonds l a t i n 1118' ( D i s s . , Basel U n i v e r s i t y , 1970). S E R V A T I U S , V I V E C A , Cantus Sororum: Musik- und liturgiegeschichtliche Studien zu den Antiphonen des birgittinischen Eigenrepertoires, nebst 91 Transkriptionen ( U p p s a l a , 1990). S E S I N I , U G O , La notazione comasca net cod. Ambrosiano E. 68 supra ( M i l a n , 1932). S E V E S T R E , N I C O L E , ' T h e A q u i t a n i a n T r o p e s of the Easter I n t r o i t A M u s i c a l A n a l y s i s ' , JPMMS 3 (1980), 2 6 - 3 9 . S I D L E R , H U B E R T , ' S t u d i e n z u d e n alten O f f e r t o r i e n m i t i h r e n V e r s e n ' ( D i s s . , F r i b o u r g , 1939). S I G L , M A X I M I L I A N , Zur Geschichte des Ordinarium Missae in der deutschen ChoraliXberlieferung, 2 v o l s . (Regensburg, 1911). S I L A G I , G A B R I E L (ed.), Liturgische hi Munchen (1983) und Tropen: Referate zweier Colloquien des Corpus Troporum

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and Old Mercian Versions, 4 v o l s . ( C a m b r i d g e , 1 8 7 1 - 8 7 ) . S M I T H , J O H N A . , ' T h e A n c i e n t Synagogue, the E a r l y C h u r c h a n d S i n g i n g ' , Music and Letters, 65 (1984), 1 - 1 6 . S M I T S V A N W A E S B E R G H E , J O S E P H , Muziekgeschiedenis der Middeleeuwen, 2 vols. ( T i l b u r g , 1938-42). ' S o m e M u s i c Treatises a n d T h e i r I n t e r r e l a t i o n : A S c h o o l of L i e g e c. 1 0 5 0 - 1 2 0 0 ? ' , MD 3 (1949), 2 5 - 3 2 , 9 5 - 1 1 8 . ' T h e M u s i c a l N o t a t i o n of G u i d o of A r e z z o ' , MD 5 (1951), 1 5 - 5 3 . ' G u i d o of A r e z z o a n d M u s i c a l I m p r o v i s a t i o n ' , MD 5 (1951), 5 5 - 6 4 . Cymbalo (Bells in the Middle Ages): Edition of Texts and Introduction ( R o m e , 1951). ' L a Place exceptionelle de l ' A r s M u s i c a dans le developpement des sciences au siecle des C a r o l i n g i e n s ' , RG 31 (1952), 8 1 - 1 0 4 ; trans. H . S c h u l z e : ' D i e besonderer S t e l l u n g der A r s M u s i c a i m Zeitalter der K a r o l i n g e r ' , i n S m i t s v a n Waesberghe 1976, 4 8 - 7 0 . De musico-paedagogico et theoretico Guidone Aretino eiusque vita et moribus ( F l o r e n c e , 1953). ' N e u e s uber die S c h o l a C a n t o r u m z u R o m ' , i n Congress V i e n n a 1954, 1 1 1 - 1 9 . ' M u s i k a l i s c h e B e z i e h u n g e n z w i s c h e n A a c h e n , K o l n , L i i t t i c h u n d M a a s t r i c h t v o m 11. b i s z u m 13. J a h r h u n d e r t ' , i n Beitrage zur Musikgeschichte der Stadt Aachen ( C o l o g n e , 1954), 5-13. A Textbook of Melody: A Course in Functional Melodic Analysis ( R o m e , 1955). Expositiones in Micrologum Guidonis Aretini ( A m s t e r d a m , 1957) [ L i b e r a r g u m e n t o r u m , L i b e r specierum, Metrologus, Commentarius i n M i c r o l o g u m G u i d o n i s A r e t i n i ] . ' L e s O r i g i n e s de la notation alphabetique au moyen-age', Anuario musical, 12 (1957), 3 14. ' O v e r het onstaan v a n Sequens en P r o s u l a en beider oorspronkelijke u i t v o e r i n g s w i j z e ' , Feestaftevering ter gelegenheid van de zestige verjaardag van Prof. Dr. K. Ph. Bernet

Kempers = Orgaan K. N. T. V., Officeel Maandblad van de Koninklijke Nederlandsche Toonkunstenaars Vereeniging ( A m s t e r d a m , 1957), 4 1 - 5 7 ; shorter v e r s i o n : ' Z u r u r s p r u n g lichen Vortragsweise der P r o s u l e n , Sequenzen u n d O r g a n a ' , i n C o n g r e s s C o l o g n e 1958, 251-4. ' L ' E t a t actuel des recherches scientifiques dans le domaine d u chant gregorien', i n Actes du troisieme congres international de musique sacree, Paris l - S juillet 1957 ( P a r i s , 1959), 2 0 6 - 1 7 . ' D i e I m i t a t i o n der Sequenztechnik i n den H o s a n n a - P r o s u l e n ' , i n F e l l e r e r Festschrift 1962, 4 8 5 - 9 0 . ' " D e glorioso officio . . . dignitate apostolica . . . " ( A m a l a r ) ; z u m A u f b a u der G r o B A l l e l u i a i n den papstlichen Osterverspern', i n Wellesz Festschrift 1966, 4873 = S m i t s van Waesberghe 1976, 1 1 7 - 4 6 . Musikerziehung (Musikgeschichte i n B i l d e r n , 3, pt. 3 ; L e i p z i g , 1969).
e r n e

' N e u e K o m p o s i t i o n e n des Johannes v o n M e t z ( u m 975), H u c b a l d s v o n St. A m a n d u n d Sigeberts v o n G e m b l o u x ? ' , i n H u s m a n n Festschrift 1970, 2 8 5 - 3 0 3 . ' S t u d i e n uber das L e s e n (pronunciare), das Z i t i e r e n u n d l i b e r die Herausgabe lateinischer musiktheoretischer Traktate', AfMw 28 (1971), 1 5 5 - 2 0 0 ; 29 (1972), 6 4 - 8 6 . ' G e d a n k e n iiber den inneren T r a d i t i o n s p r o z e s s i n der G e s c h i c h t e der M u s i k des M i t t e l a l t e r s ' , i n K u r t v o n Fischer Festschrift 1973, 7 - 3 0 . 'Wie W o r t w a h l u n d T e r m i n o l o g i e bei G u i d o v o n A r e z z o entstanden u n d (iberliefert w u r d e n ' , AfMw 31 (1974), 7 3 - 8 6 . Dia-pason, de omnibus: Ausgewahlte Aufsdtze von Josef Smits van Waesberghe: Festgabe zu seinem 75. Geburtstag ( B u r e n , 1976). see also C S M 1, 2, a n d 4 ; D M A , R I S M B/III/1. S M I T S V A N W A E S B E R G H E Festschrift = Pieter F i s c h e r (ed.), Organicae voces: Festschrift J. Smits van Waesberghe ( A m s t e r d a m , 1963). S N O W , R O B E R T , ' T h e O l d - R o m a n C h a n t ' , i n A p e l 1958, 4 8 4 - 5 0 5 . S O H N E R , L . , Die Geschichte der Begleitung des gregorianischen Chorals in Deutschland vornehmlich im 18. Jahrhundert ( A u g s b u r g , 1931). S O W A , H E I N R I C H , ' Z u r H a n d s c h r i f t C l m 9921', AcM 5 (1933), 6 0 - 5 , 1 0 7 - 2 0 . Quellen zur Transformation der Antiphonen: Tonar- und Bhythmus-Studien (Kassel, 1935). S O W U L E W S K A , H A L I N A ' L e s Relations de p r o x i m i t e entre les graduels p>olonais des Premonstres et les manuscrits europeens', SMH 27 (1985), 1 2 3 - 9 . S P A N K E , H A N S , ' D a s M o o s b u r g e r G r a d u a l e ' , Zeitschrift fur romanische Philologie, 50 (1930), 582-95. 'St. M a r t i a l - S t u d i e n . E i n Beitrag zur friihromanischen M e t r i k ' , Zeitschrift fiir franzosische Sprache und Literatur, 54 (1930), 2 8 2 - 3 1 7 , 3 8 5 - 4 2 2 ; 56 (1931), 4 5 0 - 7 8 . ' R h y t h m e n - u n d Sequenzstudien', Studi medievali, N S , 4 (1931), 2 8 6 - 3 2 0 . ' A u s der Vorgeschichte u n d Friihgeschichte der Sequenz', Zeitschrift fiir deutsches Altertum und deutsche Literatur, 71 (1934), 1 - 3 9 . Beziehungen zwischen romanischer und mittellateinischer Lyrik mit besonderer Beriicksichtigung der Metrik und Musik ( A b h a n d l u n g e n der Gesellschaft der Wissenschaften z u G o t t i n g e n , Philologisch-historische K l a s s e , 3rd ser., 18; B e r l i n , 1936). 'Sequenz u n d L a i ' , Studi medievali, N S , 11 (1938), 1 2 - 6 8 . ' D i e K o m p o s i t i o n s k u n s t der Sequenzen A d a m s von St. V i c t o r ' , Studi medievali, N S , 14 (1951), 1 - 3 0 .
>

S P U N A R , P A V E L , ' D a s T r o p a r i u m des Prager D e k a n s V i t (Prag K a p i t e l b i b l i o t h e k , C i m 4)', Scriptorium, 9 (1957), 5 0 - 6 2 . S R A W L E Y , J . H . , The Early History of the Liturgy ( C a m b r i d g e , 1913; 2 n d e d n . , 1947). S T A B L E I N , B R U N O , ' Z u r G e s c h i c h t e der choralen Pange l i n g u a - M e l o d i e ' , i n Johner Festschrift 1950, 7 2 - 5 . ' V o n der S e q u e n z z u m S t r o p h e n l i e d . E i n e neue Sequenzemelodie " a r c h a i s c h e n " Stiles', Mf 7 (1954), 2 5 7 - 6 8 , 511. ' Z u r F r u h g e s c h i c h t e der Sequenz', Aflvlw 18 (1961), 1 - 3 3 . ' D i e U n t e r l e g u n g v o n T e x t e n unter M e l i s m e n . T r o p u s , Sequenz u n d andere F o r m e n ' , in Congress N e w Y o r k 1961, 1 2 - 2 9 . ' D a s sogenannte aquitanische " A l l e l u i a D i e s sanctificatus" u n d seine Sequenz', i n H a n s A l b r e c h t G e d e n k s c h r i f t 1962, 2 2 - 6 . ' D i e Schwanenklage. Z u m P r o b l e m L a i P l a n c t u s S e q u e n z ' , i n Fellerer Festschrift 1962, 4 9 1 - 5 0 2 . 'Der T r o p u s " D i e s sanctificatus" z u m A l l e l u i a " D i e s sanctificatus'", Musikwissenschaft, 25 (1962) (Festschrift fiir E r i c h S c h e n k ) , 5 0 4 - 1 5 . ' N o t k e n a n a ' , AfMw 1 9 - 2 0 ( 1 9 6 2 - 3 ) , 8 4 - 9 9 . Studien zur

' Z u m Verstandnis des "klassischen" T r o p u s ' , AcM 35 (1963), 8 4 - 9 5 . ' M o d a l e R h y t h m e n i m S a i n t - M a r t i a l - R e p e r t o i r e ? ' , i n B l u m e Festschrift 1963, 3 4 0 - 6 2 . ' Z w e i T e x t i e r u n g e n des A l l e l u i a C h r i s t u s Resurgens i n St. E m m e r a m R e g e n s b u r g ' , i n S m i t s v a n Waesberghe Festschrift 1963, 1 5 7 - 6 7 . 'Die S e q u e n z m e l o d i e " C o n c o r d i a " u n d i h r geschichtlicher H i n t e r g r u n d ' , i n E n g e l Festschrift 1964, 3 6 4 - 9 2 . ' Z u r M u s i k des L u d u s de A n t i c h r i s t o ' , i n M u l l e r - B l a t t a u Festschrift 1966, 3 1 2 - 2 7 . ' D e r " a l t r o m i s c h e " C h o r a l i n O b e r i t a l i e n u n d i m deutschen S i i d e n ' , Mf 19 (1966), 3 - 9 . ' " G r e g o r i u s P r e s u l " , der P r o l o g z u m r o m i s c h e n A n t i p h o n a l e ' , i n Votterle Festschrift 1968, 5 3 7 - 6 1 . ' T h e s e s 6qualistes et mensuralistes', Encyclopedic des musiques sacres, 2 (Paris, 1969), 80-98. ' Z w e i M e l o d i e n der altirischen L i t u r g i e ' , i n Fellerer Festschrift 1973, 5 9 0 - 7 . Schriftbild der einstimmigen Musik (Musikgeschichte i n B i l d e r n , 3, p t . 4 ; L e i p z i g , 1975). 'Pater n o s t e r - T r o p e n ' , i n H a b e r l Festschrift 1977, 2 4 7 - 7 8 . ' E i n i g e s N e u e z u m T h e m a "archaische S e q u e n z ' " , i n Festschrift D a d e l s e n 1978, 3 5 2 - 8 3 . arts. 'Agnus D e i ' , 'Alleluja', ' A n t i p h o n ' , 'Antiphonar', 'Brevier', 'Cantatorium', ' C a n t i c u m ' , ' C h o r a l ' , ' C o m m u n i o ' , ' C r e d o ' , ' D e u t s c h l a n d . B . M i t t e l a l t e r . I. D e r romische C h o r a l i m Norden', 'Epistel, A . Katholisch', 'Evangelium, A . Katholisch', 'Exultet', 'Fruhchristliche M u s i k ' , ' G a l l i k a n i s c h e L i t u r g i e ' , 'Gemeindegesang, A . M i t t e l a l t e r ' , ' G l o r i a i n excelsis D e o ' , ' G r a d u a l e (Gesang)', ' G r e g o r I.', ' G r e g o r i a n i k ' , ' H y m n a r ' , ' H y m n u s , B . D e r lateinischen H y m n u s ' , ' I m p r o p e r i e n ' , 'Introitus', ' I n v i t a t o r i u m ' , ' K y r i a l e ' , ' K y r i e ' , ' L i t a n e i ' , ' M e s s e , A . Die lateinische M e s s e ' , ' M i s s a l e ' , 'Passion, A . D i e einstimmige lateinische Passion', 'Pater noster', 'Prafation', ' P s a l m , B ' , ' S a i n t - M a r t i a l ' , 'Sequenz (Gesang)', ' T r o p u s ' , ' V e r s u s ' , MGG. see also M M M A . S T A B L E I N Festschrift 1967 = M a r t i n R u h n k e (ed.), festschrift Bruno Stablein zum 70. Geburtstag ( K a s s e l , 1967). S T A H L , W I L L I A M H A R R I S , Martianus Capella and the Seven Liberal Arts ( N e w Y o r k , 1971).

S T E E R , G E O R G , ' " C a r m i n a B u r a n a " i n S u d t i r o l : Z u r H e r k u n f t des e l m 4660', Zeitschrift fur deutsches Altertum und deutsche Literatur, 112 (1983), 1 - 3 7 . S T E G L I C H , R U D O L F , Die Quaestiones in musica; ein Choraltraktat des zentralen Mittelalters und ihr mutmafilicher Verfasser Rudolf von St. Trond (1070-1138) ( P u b l i k a t i o n e n der Internationalen Musikgesellschaft, Beihefte 11/10; L e i p z i g , 1911). S T E I N , F R A N Z A . , Das Moosburger Graduate ( D i s s . , F r e i b u r g i m B r . , 1956). S T E I N E N , W O L F R A M V O N D E N , ' D i e A n f a n g e der S e q u e n z e n d i c h t u n g ' , Zeitschrift fiir schweizerische Kirche nge s chichte, 40 (1946), 1 9 0 - 2 1 2 , 2 4 1 - 6 8 ; 41 (1947), 1 9 - 4 8 , 1 2 2 - 6 2 . Notker der Dichter und seine geistige Welt, 2 vols. (Berne, 1948). S T E I N E R , R U T H , ' S o m e Questions about the G r e g o r i a n Offertories a n d their Verses', JAMS (1966), 1 6 2 - 8 1 . 19

' T h e Prosulae of the M S P a n s B N lat. 1118', JAMS 22 (1969), 3 6 7 - 9 3 . ' T h e Responsories a n d Prosa for St. Stephen's D a y at S a l i s b u r y ' , MO 56 (1970), 1 6 2 - 8 2 . ' S o m e M e l i s m a s for Office Responsories', JAMS 26 (1973), 1 0 8 - 3 1 . ' T h e G r e g o r i a n C h a n t M e l i s m a s of C h r i s t m a s M a t i n s ' , i n Essays in Honor of Charles Warren Fox ( R o c h e s t e r , N Y , 1979), 2 4 1 - 5 3 . ' T h e C a n t i c l e of the T h r e e C h i l d r e n as a C h a n t of the R o m a n M a s s ' , Schweizer Jahrbuch fiir Musikwissenschaft, N S , 2 (1982), 8 1 - 9 0 . ' A n t i p h o n s for the Benedicite at L a u d s ' , JPMMS 7 (1984), 1 - 1 7 . ' T h e M u s i c for a C l u n y Office of S t . Benedict', i n V e r d o n and D a l l y 1984, 8 1 - 1 1 3 . ' R e c o n s t r u c t i n g the Repertory of Invitatory T o n e s and their U s e s at C l u n y i n the L a t e 11th C e n t u r y ' , i n H u g l o 1987, 1 7 5 - 8 2 . arts. ' C a n t a t o r i u m ' , ' C o m p l i n e ' , ' C u r s u s ' , ' G r e g o r i a n C h a n t ' , ' H y m n , I I . M o n o p h o n i c L a t i n ' , ' I n t r o i t ' , ' I n v i t a t o r y ' , ' L o r d ' s Prayer', ' P r o s u l a ' , 'Psalter', ' T e D e u m . 1.2.', ' T r o p e ' , NG. and L E V Y , K E N N E T H , ' L i t u r g y and L i t u r g i c a l Books', NG. S T E N Z L , J O R G , Repertorium der liturgischen Musikhandschriften der Diozesen Sit ten, Lausanne und Genf, 1 ( V G A , N S , 1; F r i b o u r g , 1972). S T E P H A N , R U D O L F , ' L i e d , T r o p u s u n d T a n z i m M i t t e l a l t e r ' , Zeitschrift fiir deutsches Altertum und deutsche Literatur, 87 (1956), 1 4 7 - 6 2 . S T E V E N S , J O H N , Words and Music in the Middle Ages: Song, Narrative, Dance and Drama, 1050-1350 ( C a m b r i d g e , 1986). ' M e d i e v a l D r a m a , I I . L i t u r g i c a l D r a m a ' , NG. S T E V E N S O N , J O S E P H (ed.), Chronicon monasterii de Abingdon, 2 vols. ( R e r u m B r i t a n n i c a r u m m e d i i aevi scriptores ( R o l l s Series), 2; L o n d o n , 1858). S T O T Z , P E T E R , Sonderformen der sapphischen Dichtung ( M u n i c h , 1982). S T R A T M A N , C . J . , Bibliography of Medieval Drama (Berkeley, C a l . , 1954; 2 n d e d n . , 1972). S T R E C K E R , K A R L , Introduction to Medieval Latin, trans, and rev. R o b e r t B . P a l m e r ( D u b l i n and Z u r i c h , 1957). S T R E H L , R E I N H A R D , ' Z u m Z u s a m m e n h a n g v o n T r o p u s u n d Prosa " E c c e i a m C h r i s t u s ' " , Mf 17 (1964), 2 6 9 - 7 1 . S T R O M B E R G , B E N G T , Den pontifikala liturgin in Lund och Roskilde under medeltiden [ T h e pontifical l i t u r g y i n L u n d and R o s k i l d e d u r i n g the M i d d l e Ages] ( S t u d i a theologica L u n d e n s i a , 9 ; L u n d , 1955). S T R U N K , O L I V E R , 'Intonations and Signatures of the B y z a n t i n e M o d e s ' , MQ 31 (1945), 339 55 = S t r u n k 1977, 1 9 - 3 6 . Source Readings in Music History ( N e w Y o r k , 1950).

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T A R C H N I S C H V I L I , M I C H E L , Le Grand Lectionnaire de Veglise de Jerusalem (V -VHP siecles) ( C o r p u s s c r i p t o r u m C h r i s t i a n o r u m o r i e n t a l i u m , 1 8 8 - 9 , 2 0 4 - 5 ; L o u v a i n , 1959, 1960). T E R R I Z Z I , F R A N C E S C O (ed.), Missale antiquum S. Panormitanae ecclesiae ( R e r u m ecclesiasticarum d o c u m e n t a , series maior, 13; R o m e , 1970). THANNABAUR, PETER JOSEF, Das einstimmige Sanctus der romischen Messe in der

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V I L L E T A R D , H E N R I , Office de Pierre de Corbeil (Office de la Circoncision) impropremerit appele 'Office des Lous' (Paris, 1907). La Danse ecclesiastique a la metropole de Sens (Paris, 1911). Odorannus de Sens et son uvre musicale (Paris, 1912). Office de St Savinien et de St Potentien, premiers eveques de Sens: Catalogue somrnaire des livres liturgiques de Vancien diocese de Sens (Paris, 1956). V I N C E N T , A L E X A N D R E - J O S E P H - H Y D U L P H E , ' E m p l o i des quarts de t o n dans le chant g r e g o r i e n , constate dans l ' A n t i p h o n a i r e de M o n t p e l l i e r ' , Revue archeologique, 11 (1854), 2 6 2 - 7 2 . V I V E L L , C O E L E S T I N , Initio tractatuum musices ex codicibus editorum ( G r a z , 1912). Frutolfi Breviarium de musica et tonarius ( A k a d e m i e der Wissenschaften i n W i e n , Philosophisch-historische K l a s s e . Sitzungsberichte 188, A b h a n d l u n g 2 ; V i e n n a , 1919). V i V E S , J . , Oracional visigotico ( M o n u m e n t a Hispaniae sacra, Serie l i t u r g i c a , 1; B a r c e l o n a , 1946). V O G E L , C Y R I L L E , ' L e s Echanges liturgiques entre R o m e et les pays francs jusqu'a l'epoque de C h a r l e m a g n e ' , i n Le chiese nei regni delVEuropa occidentale e i low rapporti con Roma firm air 800 (Settimane d i studi del C e n t r o italiano d i studi sull'alto m e d i o e v o , 7; S p o l e t o , 1960), 1 8 5 - 9 5 . ' L a R e f o r m e cultuelle sous P e p i n le Bref et sous C h a r l e m a g n e ' , i n E r n a Patzelt, Die karolingische Renaissance ( G r a z , 1965), 1 7 1 - 2 4 2 . ' L a R e f o r m e l i t u r g i q u e sous Charlemagne', i n Braunfels, i i (1965), 2 1 7 - 3 2 . Introduction aux sources de Vhistoire du culte chretien au moyen age (Biblioteca degli studi m e d i e v a l i , 1; Spoleto, 1966; 2 n d e d n . , 1975; 3 r d e d n . , 1981); trans, a n d rev. W i l l i a m G . Storey a n d N i e l s K r o g h Rasmussen, Medieval Liturgy: An Introduction to the Sources ( W a s h i n g t o n , D C , 1986). and E l z e , R e i n h a r d (eds.), Pontifical romano-germanique du dixieme siecle ( S t u d i e testi, 2267, 2 6 9 ; R o m e , 1963, 1972). V O G U , A D A L B E R T D E , La Regie du Maitre (Sources chretiennes, 1 0 5 - 7 ; P a r i s , 1964). and N E U F V I L L E , J E A N (eds.), La Regie de Saint Benoit, 7 vols. (Sources chretiennes, 1 8 1 - 6 ; Paris, 1 9 7 1 - 7 ) . V O L L A E R T S , J . W . A . , Rhythmic Proportions in Early Medieval Ecclesiastical Chant ( L e i d e n , 1958, 2/1960). V O T T E R L E Festschrift 1968 = R i c h a r d B a u m and W o l f g a n g R e h m (eds.), Musik und Veriag: Karl Votterle zum 65. Geburtstag ( K a s s e l , 1968). W A D D E L L , C H R Y S O G O N U S , ' M o n a s t i c L i t u r g y : Prologue to the C i s t e r c i a n A n t i p h o n a r y ' , i n The Works of Bernard of Clairvaux: Treatises/ (Cisterican Fathers Series, 1; S p e n c e r , M a s s . , 1970), 1 5 3 - 6 2 . ' T h e O r i g i n and E a r l y E v o l u t i o n of the C i s t e r c i a n A n t i p h o n a r y : Reflections o n T w o C i s t e r c i a n C h a n t R e f o r m s ' , i n The Cistercian Spirit: A Symposium in Memory of Thomas Merton, e d . M . Basil P e n n i n g t o n (Cistercian Studies Series, 3 ; Spencer, M a s s . , 1970), 190-223. ' T h e E a r l y C i s t e r c i a n Experience of L i t u r g y ' , i n Rule and Life: An Interdisciplinary Symposium, e d . M . Basil Pennington (Cistercian Studies Series, 12; S p e n c e r , M a s s . , 1971), 7 7 - 1 1 6 . ' T h e T w o Saint M a l a c h y Offices f r o m C l a i r v a u x ' , i n Bernard of Clairvaux: Studies Presented to Dom Jean Leclercq (Cistercian Studies Series, 2 3 ; W a s h i n g t o n , D C , 1973), 123-59. 'Peter A b e l a r d ' s Letter 10 and Cistercian L i t u r g i c a l R e f o r m ' , i n Studies in Medieval

Cistercian History, 2, e d . J . R . S o m m e r f e l d t (Cistercian Studies Series, 2 4 ; K a l a m a z o o , M i c h . , 1976), 7 5 - 8 6 . 'St B e r n a r d a n d the C i s t e r c i a n Office at the A b b e y of the Paraclete', i n The Chimaera of his Age: Studies on Bernard of Clairvaux, e d . E . J . E l d e r a n d J . S o m m e r f e l d t (Studies in Medieval Cistercian History, 5 ; Cistercian Studies Series, 6 3 ; K a l a m a z o o , M i c h . , 1980). ' T h e R e f o r m of the L i t u r g y f r o m a Renaissance Perspective', i n B e n s o n , C o n s t a b l e , a n d L a n h a m 1982, 8 8 - 1 0 9 . The Twelfth-Century Cistercian Hymnal (Cistercian L i t u r g y Series, 1 - 2 ; G e t h s e m a n i A b b e y , 1984). ' T h e P r e - C i s t e r c i a n B a c k g r o u n d of C i t e a u x and the C i s t e r c i a n L i t u r g y ' , i n Goad and Nail: Studies in Medieval Cistercian History, 10, e d . E . R o z a n n e E l d e r ( K a l a m a z o o , M i c h . , 1985), 119. ' E p i t h a l a m i c a : A n Easter Sequence b y Peter A b e l a r d ' , MQ 72 (1986), 2 3 9 - 7 1 .
WAELTNER, ERNST LUDWIG, a n d B E R N H A R D , M I C H A E L , Wortindex zu den echten Schriften

Guidos von Arezzo (Bayerische A k a d e m i e d e r Wissenschaften, V e r o f f e n t l i c h u n g e n d e r M u s i k h i s t o r i s c h e n K o m m i s s i o n , 2 ; M u n i c h , 1976). W A G E N E R , H . , Die Begleitung des gregorianischen Chorals im neunzehnten Jahrhundert ( R e g e n s b u r g , 1964). W A G N E R , P E T E R , Einfuhrung in die gregorianischen Melodien, 3 vols.

W a g n e r I = Ursprung und Entwicklung der liturgischen Gesangsformen ( F r i b o u r g , 1895; 2 n d edn., 1901; 3 r d e d n . , 1911); trans, of 2 n d e d n . b y Agnes O r m e a n d E . G . P . W y a t t : Introduction to the Gregorian Melodies, 1: Origin and Development of the Forms of Liturgical Chant up to the End of the Middle Ages ( L o n d o n , 1907). W a g n e r I I = Neumenkunde. Palaographie des liturgischen Gesanges ( L e i p z i g , 1905; 2 n d edn., 1912). W a g n e r I I I = Gregorianische Formenlehre ( L e i p z i g , 1921). ' U n piccolo trattato s u l canto ecclesiastico i n u n manoscritto del secolo x - x i ' , Rassegna gregoriana, 3 (1904), 4 8 1 - 4 . ' G e r m a n i s c h e s u n d Romanisches i m fruhmittelalterlichen K i r c h e n g e s a n g ' , i n Congress L e i p z i g 1925, 2 1 - 3 4 . ' A u s der F r u h z e i t des L i n i e n s y s t e m s ' , AfMw 8 (1926), 2 5 9 - 7 6 . ' D e r mozarabische K i r c h e n g e s a n g u n d seine U b e r l i e f e r u n g ' , Gesammelte Aufsdtze zur Kulturgeschichte Spaniens, 1 (Spanische F o r s c h u n g e n der Gorresgesellschaft, 1st s e r . ; M u n s t e r , 1928), 1 0 2 - 2 1 . 'Untersuchungen z u den Gesangstexten u n d z u r responsorialen Psalmodie der altspanischen L i t u r g i e ' , Gesammelte Aufsdtze zur Kulturgeschichte Spaniens, 2 (Spanische F o r s c h u n g e n der Gorresgesellschaft, 1st s e r . ; M u n s t e r , 1930), 6 7 - 1 1 3 . Das Graduate der St. Thomaskirche zu Leipzig (14. Jahrhunderts) ( P u b l i k a t i o n e n alterer M u s i k , 5 - 6 ; 1930, 1932). ' Z u r mittelalterlichen T o n a r t l e h r e ' , i n A d l e r Festschrift 1930, 2 9 - 3 2 . Die Gesdnge der Jakobs liturgie zu Santiago de Compos tela aus dem sogennanten Codex Calixtinus ( F r i b o u r g , 1931). W A G N E R Festschrift = K . W e i n m a n n (ed.), Festschrift fiir Peter Wagner ( L e i p z i g , 1926). W A L K E R , G . S . M . , Sancti Columbani Opera ( D u b l i n , 1957). W A L L A C E , W I L F R I D , The Life of St. Edmund of Canterbury ( L o n d o n , 1893). W A L L A C E - H A D R I L L , J . M . , The Frankish Church ( O x f o r d , 1983).

W A R R E N , F R E D E R I C K E . , The Liturgy and Ritual Jane Stevenson ( W o o d b r i d g e , 1987). The Leofric Missal ( O x f o r d , 1883).

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Church

( O x f o r d , 1881); rev.

The Antiphonary of Bangor ( H e n r y Bradshaw Society, 4 and 10 ( L o n d o n , 1893, 1895). W A S Z I N K , J . , Studien zum Timaioskommentar des Calcidius ( L e i d e n , 1964). W E A K L A N D , R E M B E R T , ' H u c b a l d as M u s i c i a n and T h e o r i s t ' , MO 42 (1956), 6 6 - 8 4 . ' T h e B e g i n n i n g s of T r o p i n g ' , MO 44 (1958), 4 7 7 - 8 8 . ' T h e C o m p o s i t i o n s of H u c b a l d ' , EG 3 (1959), 1 5 5 - 6 2 . ' M i l a n e s e R i t e , C h a n t s o f , NCE. W E I N M A N N , K . , Das Konzil von Trient und die Kirchenmusik
WEINRICH, L O R E N Z , 'Abelard', NG.

( L e i p z i g , 1919).

W E I S B E I N , N I C O L A S , ' L e " L a u d e s crucis attollamus" de M a i t r e H u g u e s d'Orleans, dit le P r i m a t ' , Revue du moyen age latin, 3 (1947), 5 - 2 6 . W E I S S , G U N T H E R , ' " T r o p i e r t e I n t r o i t u s t r o p e n " i m Repertoire der sudfranzosischen H a n d schriften', Mf 17 (1964), 2 6 6 - 9 . ' Z u m P r o b l e m der G r u p p i e r u n g sudfranzosischer T r o p a r e ' , AfMw 21 (1964), 1 6 3 - 7 1 . ' Z u m " E c c e i a m C h r i s t u s ' " , Mf 18 (1965), 1 7 4 - 7 . ' Z u r R o l l e Italiens i m f r i i h e n T r o p e n s c h a f f e n ' , i n S t a b l e i n Festschrift 1967, 2 8 7 - 9 2 . see also M M M A 3. W E L L E S Z , E G O N , Eastern Elements in Western Chant ( C o p e n h a g e n , 1947). A History of Byzantine Music and Hymnography ( O x f o r d , 1949; 2 n d e d n . , 1961). ' G r e g o r y the Great's L e t t e r on the A l l e l u i a ' , Annates musicologiques, 2 (1954), 7 - 2 6 . W E L L E S Z Festschrift 1966 = Jack W e s t r u p (ed.), Essays Presented to Egon Wellesz ( O x f o r d , 1966). W ' E S T R U P Festschrift 1975 = F . W . S t e r n f e l d , N i g e l F o r t u n e , a n d E d w a r d O l l e s o n (eds.), Essays on Opera and E?iglish Music in Honour of Sir Jack West nip ( O x f o r d , 1975). W E Y N S , N O R B E R T I., ' L e M i s s e l premontre', Analecta praemonstratensia, 43 (1967), 2 0 3 - 2 5 . Antiphonale missarum praernonstratense (Bibliotheca analectorum p r a e m o n s t r a t e n s i u m , 12; A v e r b o d e , 1973). W H I T E , A L I S O N , 'Boethius i n the M e d i e v a l Q u a d r i v i u m ' , i n G i b s o n 1981, 1 6 2 - 2 0 5 . W H I T E H I L L , W . M . , C A R R O C A R C T A , J . , and P R A D O , G . , Liber Sancti Jacobi: Codex Calixtinus (Santiago de C o m p o s t e l a , 1944). W i E S L i , W A L T E R , Das Quilisma im Codex 359 der Stiftsbibliothek St. Gallen, erhellt durch das Zeugnis der Codices Einsiedeln 121, Bamberg lit. 6, Laon 239 und Chart res 47: Eine paldographisch-serniologische Studie (Bethlehem Immensee, 1966). W I L K I N S O N , J . , Egeria's Travels ( L o n d o n , 1971). W I L L I S , G . G . , Essays in Early Roman Liturgy ( A l c u i n C l u b C o l l e c t i o n s , 46; L o n d o n , 1964). further Essays in Early Roman Liturgy ( A l c u i n C l u b C o l l e c t i o n s , 5 0 ; L o n d o n , 1968). W I L M A R T , A N D R E , ' L e C o m e s de M u r b a c h ' , RB 30 (1913), 2 5 - 6 9 . ' L e R e c u e i l des poemes et des prieres de Saint-Pierre D a m i e n ' , RB 41 (1929), 3 4 2 - 5 7 . Le Monachisme clunisien des origines au XV siecle (Paris, 1935; 2 n d e d n . , 1970). W I L S O N , H E N R Y A U S T I N (ed.), The Pontifical of Magdalen College, zvith an Appendix of Extracts from Other English Mss. of the Twelfth Century ( H e n r y B r a d s h a w Society, 39; L o n d o n , 1910). (ed.), The Gregorian Sacramentary under Charles the Great ( H e n r y B r a d s h a w Society, 49; L o n d o n , 1915).

WINKLER,

G . , ' U b e r die Kathedralvesper i n den verschiedenen

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Westens', Archiv fiir Liturgiewissenschaft, 16 (1974), 5 3 - 1 0 2 . W I N T E R F E L D , P A U L V O N , ' R y t h m e n - u n d Sequenzstudien, I : D i e lateinische Eulaliasequenz und ihre S i p p e ' , Zeitschrift fiir deutsches Altertum und deutsche Literatur, 45 (1901), 133-47. W O L F , J O H A N N E S , ' E i n anonymer M u s i k t r a k t a t des elften bis z w o l f t e n Jahrhunderts', Vierteljahrsschrift fiir Musikwissenschaft, 9 (1893), 186-234. W O O D S , I S O B E L , ' " O u r a w i n Scottis use": C h a n t Usage i n M e d i e v a l S c o t l a n d ' , Journal of the Royal Musical Association, 112 (1987), 2 1 - 3 7 . W O R D S W O R T H , C H R I S T O P H E R , Ceremonies and Processions of the Cathedral Church of Salisbury ( C a m b r i d g e , 1901). and L I T T L E H A L E S , H E N R Y , The Old Service Books of the English Church ( L o n d o n , 1904). W O R M A L D , F R A N C I S , English Kalendars before A.D. J100, i ( H e n r y Bradshaw Society, 7 2 ; L o n d o n , 1934). English Benedictine Kalendars after A.D. 1100, i . Abbotsbury-Durham (Henry Bradshaw Society, 77; L o n d o n , 1939). English Benedictine Kalendars after A.D. 1100, i i . Ely-St. Neots ( H e n r y Bradshaw Society, 8 1 ; L o n d o n , 1946). W R I G H T , C R A I G , Music and Ceremony at Notre Dame of Pan's, 500-1500 ( C a m b r i d g e , 1989). [ Y A R D L E Y ] , A N N E D . B A G N A L L , ' M u s i c a l Practices i n M e d i e v a l E n g l i s h N u n n e r i e s ' ( D i s s . , C o l u m b i a U n i v e r s i t y , 1975; U M I 7 5 - 2 5 6 4 8 ) . Y A R D L E Y , A N N E B A G N A L L , ' T h e M a r r i a g e of H e a v e n and E a r t h : A Late M e d i e v a l Source of the Consecratio virginum', i n Sanders Festschrift 1990, 3 0 5 - 2 4 . Y E A R L E Y , J A N T H I A , ' A B i b l i o g r a p h y of Planctus i n L a t i n , Provengal, F r e n c h , G e r m a n , E n g l i s h , Italian, Catalan and G a l i c i a n - P o r t u g u e s e f r o m the T i m e of Bede to the E a r l y Fifteenth C e n t u r y ' , JPMMS 4 (1981), 1 2 - 5 2 . ' T h e M e d i e v a l L a t i n Planctus as a G e n r e ' ( D i s s . , Y o r k , 1983; B r i t i s h T h e s e s D48872/ 84). Y O U N G , K A R L , The Drama of the Medieval Church, 2 vols. ( O x f o r d , 1933).

Plainchant i n the L i t u r g y
I.l. I N T R O D U C T I O N

F r e r e 1906; Fortescue 1917; M i l l e r 1959; M i l l e r , ' L i t u r g y ' , NCE\ L e c h n e r and E i s e n h o f e r 1961; G e l i n e a u 1962; Righetti 1964; M a r t i m o r t 1965; La Musique dans la liturgie, 1971; C h e s l y n Jones et al. 1978; Steiner and L e v y , ' L i t u r g y and L i t u r g i c a l B o o k s ' , NG; Pfaff 1982; M a r t i m o r t 1983; E k e n b e r g 1987; Gottesdienst der Kirche, i i i , 1987. Plainchant is liturgical music, music to be performed d u r i n g the celebration of a divine service. T h e performance of the music is not, generally speaking, an end in itself but part of a religious ritual. Sometimes music assumes a prominent place within the performance of the ritual, sometimes a very minor one. Occasionally it has been cultivated with an exuberance and extravagance that seems to go beyond the needs of the liturgy; but this is not its normal role. Its function is to add solemnity to Christian worship. L i t u r g i c a l texts which are sung, whether chanted on a monotone or to a highly melismatic melody, are more solemn, inspiring, and impressive, and a more worthy vehicle for h u m a n prayer and praise of G o d , than spoken words. ( F o r a fuller discussion of its function see Gelineau 1962, Gottesdienst musique 1987.) Practically the whole of the plainchant repertory is music sung with a text. T h i s is another reason why the music cannot always be discussed as a thing in itself: one has to see whether, and how, it articulates the texts being sung. Moreover, the texts were not usually chosen for their musical potential, in the sense of being particularly easy to sing, or having characteristics which showed to best advantage in musical performance. T h e nature of the music chosen for a particular text is determined b y a sense of what was proper, that is appropriate, for the liturgical occasion. T h i s is shown by the fact that some texts, particularly verses from the Book of Psalms, were used again and again in the liturgy; and they were sung in different ways according to what was proper at the particular point in the liturgy where they were being sung. T h e liturgical context determined the type of music that was to be sung, just as it had determined the texts. dans la liturgie, der Kirche, i i i , 1987, and L a 1971; for the views of early medieval writers see Ekenberg,

F o r t h e m o s t p a r t , i n t h i s b o o k I s h a l l not d i s c u s s t h e t h e o l o g i c a l a n d r i t u a l b a s e s o f l i t u r g i c a l m u s i c . I d e s c r i b e t h e p l a i n c h a n t that has b e e n s u n g , t h e state i n w h i c h it h a s c o m e d o w n t o u s , a n d t h e w a y it w a s u n d e r s t o o d , n o t as r i t u a l b u t as m u s i c . T h e b o o k is w r i t t e n b y a m u s i c i a n a n d not a l i t u r g i s t , m u c h less a t h e o l o g i a n . B u t i n o r d e r to u n d e r s t a n d t h e f u n c t i o n of t h e m u s i c , w h y it w a s s u n g , a n d w h y it a s s u m e d t h e f o r m s it d i d , t h e p l a c e of m u s i c i n the liturgical services of t h e c h u r c h m u s t also be d e s c r i b e d . T h e first c h a p t e r of t h i s b o o k t h e r e f o r e g i v e s a b r i e f a c c o u n t of t h e l i t u r g y of w h i c h p l a i n c h a n t is a p a r t . I n the s e c t i o n s w h i c h f o l l o w , I t r y t o e x p l a i n w h a t a ' l i t u r g y ' i s , w h y it is p e r f o r m e d , a n d w h a t it m e a n s ; t h e n c o m e s a n a c c o u n t of t h e y e a r l y c y c l e w i t h i n w h i c h are o r g a n i z e d the s e r v i c e s w h i c h go to m a k e u p t h e l i t u r g y , f o l l o w e d b y s e c t i o n s o n t h e i n d i v i d u a l s e r v i c e s t h e m s e l v e s . T h i s c h a p t e r is r e s t r i c t e d to t h e R o m a n l i t u r g y , that m o s t w i d e l y u s e d i n v a r i o u s f o r m s i n W e s t e r n E u r o p e . L a t e r i n t h e b o o k s o m e m e n t i o n is m a d e of o t h e r W e s t e r n l i t u r g i e s a n d t h e i r c h a n t ,
r

b u t , g i v e n t h e s p a c e a v a i l a b l e , d i s c u s s i o n of t h e s e has i n e v i t a b l y h a d to b e restricted.

severely

M u c h of w h a t f o l l o w s d e s c r i b e s a s o r t of ' n o r m ' of l i t u r g i c a l p r a c t i c e . B u t e v e r y c h u r c h i n e v e r y age has h a d its o w n i d i o s y n c r a s i e s of p r a c t i c e , a n d it is d i f f i c u l t to steer a m i d d l e w a y b e t w e e n o v e r - s i m p l i f i c a t i o n of t h e v a r i e t y t h a t h a s a l w a y s e x i s t e d a n d t h e c o n f u s i o n w h i c h m a y r e s u l t if t o o m a n y of t h e v a r i a t i o n s are d o w n i n V a t i c a n b o o k s as a s t a n d a r d . T h e Liber usualis, described. D u r i n g t h i s c e n t u r y it has b e c o m e i n c r e a s i n g l y c o n v e n i e n t to r e f e r t o t h e p r a c t i c e l a i d a n a m a l g a m of s e v e r a l o f f i c i a l R o m a n s e r v i c e - b o o k s , w h i c h c o n t a i n s a large p r o p o r t i o n of t h e p l a i n c h a n t n e e d e d f o r m a s s a n d t h e s e r v i c e s of t h e o f f i c e , is p r o b a b l y t h e c o m p e n d i u m m o s t u s e d f o r t h e s t u d y of p l a i n c h a n t t o d a y . B u t i n t h i s a n d o t h e r b o o k s w e see o n l y o n e a m o n g m a n y possible liturgies, a twentieth-century one, m o r e o v e r , not a m e d i e v a l one. F r o m t i m e to t i m e s o m e a t t e m p t w i l l be m a d e to i n d i c a t e a f e w of t h e d i f f e r e n c e s b e t w e e n uses, i n l i t u r g i c a l as i n m u s i c a l m a t t e r s .

1 .2. C h e s l y n Jones et al. 1978,

L I T U R G Y 1-29.

A N D W O R S H I P

L i t u r g y m a y be d e f i n e d as t h e c o m m u n a l f o r m s of w o r s h i p of t h e C h r i s t i a n c h u r c h . C h r i s t i a n s h a v e f r o m t h e earliest d a y s of t h e c h u r c h ( ' c h u r c h ' i n t h e s e n s e of ' a l l C h r i s t i a n p e o p l e ' ) g a t h e r e d t o g e t h e r to p r a i s e a n d a d o r e G o d , to p r a y to h i m , t h a n k h i m , ask h i s a s s i s t a n c e , a n d e s p e c i a l l y to r e l i v e i n a s y m b o l i c w a y t h e e v e n t s of C h r i s t ' s life o n earth, most i m p o r t a n t l y the Last Supper which C h r i s t shared with his d i s c i p l e s . T h e l i t u r g y is t h e m o r e o r less f o r m a l , o r g a n i z e d w a y i n w h i c h t h i s is d o n e . S o t h e s t u d y of l i t u r g y ( s o m e t i m e s c a l l e d ' l i t u r g i o l o g y ' ) b r o a d l y i n c l u d e s t h e h i s t o r y of t h e s e f o r m a l acts of w o r s h i p a n d t h e i r t h e o l o g i c a l a n d s o c i a l ( e t h i c a l , a n t h r o p o l o g i c a l ) s i g n i f i c a n c e , the t e x t s u s e d , the m u s i c , the c e r e m o n i a l a c t i o n s , t h e s p e c i a l ( v e s t m e n t s ) w o r n b y t h o s e w h o o f f i c i a t e at t h e c e r e m o n i e s , clothes the a n d t h e n a t u r e of

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buildings in w h i c h worship take place (church architecture, internal decoration, and furniture). Christians believe that G o d saved mankind from its natural state of sin through his son, Jesus C h r i s t , who by his death paid the penalty for man's sins, and ensured eternal life for all m a n k i n d . In this, Christ was made a sacrifice for m a n k i n d . After Christ had risen to heaven, the H o l y Spirit (the third Person, with G o d the Father and Christ the S o n , of the H o l y T r i n i t y ) came first to the Apostles, and then to the whole c h u r c h , to continue the work of salvation ('saving'). By meeting together for worship Christians further the work of the H o l y Spirit in a special way, since liturgical acts of worship b r i n g them into particularly close contact with the events at the root of their religious beliefs. T h e acts of worship are an encounter with Christ which renews the Christian people, unites them with h i m , and makes them ready to receive G o d ' s grace (unmerited favour of being saved). A s the Constitution on the Sacred L i t u r g y of the Second Vatican C o u n c i l (1963) puts it: T h u s not only w h e n things are read ' w h i c h were written for our i n s t r u c t i o n ' ( R o m . 15: 4), b u t also w h e n the C h u r c h prays or sings or acts, the faith of those taking part is n o u r i s h e d , a n d their m i n d s are raised to G o d so that they m a y offer h i m their spiritual homage a n d receive his grace more a b u n d a n t l y . (Para. I. I. 33.) The most important ritual act within the liturgy is the Eucharist, Holy Last

C o m m u n i o n , or L o r d ' s Supper. T h e word 'eucharist' derives from the Greek word eukharistia, meaning thanksgiving. It refers to the thanks Christ gave at the S u p p e r , and also to the thanks of the church for G o d ' s work of redemption. A t the last meal with his disciples Jesus took b r e a d , a n d blessed it, and brake it, and gave it to the disciples, and said, T a k e , eat; this is m y b o d y . A n d he took the c u p , and gave thanks, and gave it to t h e m , saying, D r i n k ye all of i t ; F o r this is m y blood of the new testament, w h i c h is shed for m a n y for the remission of sins. ( M a t t . 2 6 : 2 6 - 8 . ) A n d in St L u k e ' s account, Christ commands the disciples: ' T h i s do in remembrance of me' ( L u k e 22: 19). It is through a re-enactment of this scene, a reliving of the Last Supper, that Christians come into closest union with G o d . In the eucharist minister, or celebrant (that is the priest who is the chief actor in the the ceremony,

administering the bread and wine) is Christ's representative. But more than this: C h r i s t is always present . . . in the Sacrifice of M a s s not only i n the person of his minister . . . b u t especially i n the eucharistic species . . . he is present w h e n the C h u r c h prays a n d sings, for he has p r o m i s e d 'where two or three are gathered together i n m y name there am I i n the m i d s t of t h e m ' ( M a t t . 18: 20). (Constitution on the Sacred Liturgy, I. I. 7.) T h e word 'eucharist' is also used to mean the sacred elements, or species, that is, the bread and wine, which Christians eat and drink at the culmination of the service. T h e word 'service' is used here in its usual liturgical sense of 'one self-contained communal act of worship', so that the 'service of H o l y C o m m u n i o n ' would mean the actual taking of the eucharist by the Christian congregation, together with all the prayers, readings,

and music surrounding that act. T h e service of C o m p l i n e , to take another example, is likewise made up of a series of prayers, readings, and chants; and so for other services. T h e word 'liturgy', interestingly, derives from the Greek leitourgia, originally meaning some gratuitous act of service to the public, such as the giving of money to pay for a military project, or public entertainment. In the Christian West the w o r d has been used in several different ways. It can refer to the whole complex of forms of public worship, in its broadest sense. But it is also used to refer to specific parts of that whole, such as the part for a particular day (for example, 'the G o o d F r i d a y liturgy'), or the forms used in a particular part of the universal church (for example, S a r u m liturgy', meaning the forms of worship used at Salisbury cathedral). 'the In the

East, 'liturgy' is usually restricted to meaning the H o l y C o m m u n i o n service alone, and some books on 'the liturgy' restrict themselves according to the same convention (for example, Srawley 1947). Partly because of this, I shall use another c o m m o n term for the H o l y C o m m u n i o n service, the 'mass'. A s the L a t i n form of the service developed in the fourth century onwards, it acquired the words of dismissal Mte missa est' ( ' G o , you are dismissed'), and from this the title for the whole service is taken. A s well as the consuming of the bread and w i n e t h e 'body' and ' b l o o d ' of C h r i s t praying, singing, and reading sacred texts are important parts of the liturgy. Mass contains all these things. T h e other services in the l i t u r g y u s u a l l y known as the canonical hours, office hours, or simply the officewhich do not include c o m m u n i o n , are composed almost entirely of praying, singing, and reading. T h e reading of sacred texts is important for bringing to m i n d the history of G o d ' s work. T h e writings now collected in that part of the Bible known as the O l d Testament, compiled by Jewish teachers before Christ's ministry on earth, are used beside those of Christian writers (the Gospels of the four evangelists, the letters of St Paul, etc.), for Christians believe that the earlier history of Israel contains signs and prefigurations of later events. Eventually the writings of Christian figures from times m u c h later than the apostolic age (the first century or so of Christianity) also came to be read at liturgical services. T h e s e were often patristic writings, the writings of the C h u r c h Fathers of the second to sixth centuries (that is, roughly to the time of Pope G r e g o r y I 'the Great', d . content 604). although the act of prayers, of with a cycle T h e sense of divine history to which I have just alluded affects the character and of the liturgy according to the time of year. T h u s , and also the texts of the chants vary c o m m u n i o n does not vary in essentials readings, from one day to the next, the in accordance

commemorations of the events of the life of Christ and his most important followers. A t the time of year when Christ was b o r n , the texts, and some of the ceremonial actions, refer to Christ's b i r t h ; similarly for Christ's death, resurrection, and ascension into heaven, and the coming of the H o l y Spirit. T h e whole year is full of special commemorations of this sort. F o r example, 10 August is traditionally the day in the year when St Laurence, a deacon of the church at R o m e , was martyred by being roasted on a grid during the persecutions of Valerian in 258. ( K i n g Philip II of S p a i n , in thanks for a military victory won at Saint-Quentin on 10 A u g u s t 1557, built

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Worship

his great palace, monastery, c h u r c h , and college of E l Escorial, supposedly in the shape of this (inauthentic) instrument of execution, a striking and macabre example of the strength of Christian historical symbolism.) In the M i d d l e Ages passages relating his life and death would have been read d u r i n g Matins, some of the prayers at mass w o u l d invoke his intercession, and some of the chants would also refer to h i m . T h u s at mass, the alleluia would probably use the verse Levita Laurentius: ' T h e Levite L a u r e n c e has wrought a pious work, who by the sign of the cross enlightened the b l i n d , and distributed to the poor the riches of the c h u r c h . ' T h i s short text would also be used for some chants of the office (sung to different music, as befitting the particular liturgical function of the chant in question). N o t all the texts would have been special to St Laurence, since he was but one of very many martyrs, text suitable for almost any saint: Confessio introit was used for other saints as well. The annual cycle of commemorations and symbolic re-enactments is of such importance that the next section of this book is devoted to it. T h e brief indication of the liturgy's significance sketched above is only one way of looking at the matter, albeit one suggested by modern scholarship (Crichton in C h e s l y n Jones et al. 1978, Bouyer 1956 and 1962, Vagaggini 1957) and the official teaching of the C h u r c h . T h e liturgy obviously played different parts in the lives of different C h r i s t i a n s : priest and people, monk and clerk. It meant different things to different persons at different times and places. C o m m u n i o n , the actual consuming of the bread and wine, was strikingly rare in the M i d d l e Ages, and later times as w e l l t o the extent that it might take place only on Easter D a y . O n other occasions, although the f o r m of the mass would have been followed, and all the texts and music heard, the sacred elements would merely have been displayed to those present, T h i s sort of variation in practice the only communicant being the priest. obviously has etpulchritudo though u n d o u b t e d l y one of the more important in medieval eyes. T h e introit at mass uses a (from Ps. 96): ' G l o r y and and indeed this worship are before h i m : power and honour are in his sanctuary',

consequences for the music needed during the ceremony (in this case, see A t k i n s o n 1977). Just as striking as the differences in liturgical practice are the differences in interpretation of the liturgy. In the M i d d l e Ages in particular, numerous allegorical explanations of the significance of liturgical actions were composedoften of what were in origin rather simple, functional actions. ceremony, in J u n g m a n n 1962, Missarum, (See the account of allegorical interpretations of the mass, and a rapid sketch of the changes in the character of the Pt. I, chs. 9 and 11-14, and Pt. II, c h . 2.) F o r example, the influential Amalarius of M e t z (d. c.853) saw symbolic significance in every person, text, action, vestment, and property found in the liturgy. I quote here f r o m Jungmann's presentation of Amalarius's summary of the contents of his Expositio or Eclogae (813-14) of the mass (for an extensive presentation of the m u c h ecclesiasticis officiis, see longer discussion of the mass by A m a l a r i u s in his De H a r d i s o n 1965,

Essay II; note, however, the reservations expressed by M c K i t t e r i c k

1977 148 f f . : A m a l a r i u s may have occupied a somewhat extreme position). T h e parts

of the mass mentioned in this extract represent Christ's life ' f r o m the first c o m i n g of the L o r d to the time when he hastened to Jerusalem to suffer': T h e Introit represents the choir of the Prophets ( w h o a n n o u n c e d the advent of C h r i s t just as the singers announce the advent of the bishop) . . . , the K y r i e eleison represents the Prophets at the time of Christ's c o m i n g , Z a c h a r y a n d his son J o h n a m o n g t h e m ; the G l o r i a i n excelsis D e o indicates the t h r o n g of angels w h o p r o c l a i m e d to the shepherds the joyous tidings of o u r L o r d ' s b i r t h (and indeed i n this m a n n e r , that first one spoke and the others joined i n , just as i n the Mass the b i s h o p intones a n d the whole c h u r c h joins i n ) ; the first collect represents what our L o r d d i d i n H i s twelfth year . . . ; the E p i s t l e represents the preaching of J o h n , the R c s p o n s o r i u m the readiness of the A p o s t l e s w h e n our L o r d called them and they followed H i m ; the A l l e l u i a their joy of heart w h e n they heard his promises or saw the miracles H e w r o u g h t . . . , the G o s p e l his p r e a c h i n g . ( J u n g m a n n 1962, Missarum, P t . I, 118.) O n e need not necessarily agree with Hardison's interpretation of A m a l a r i u s h e sees h i m as a striking example of the mentality which cultivated liturgical dramato realize that the possible relevance of the ideas in A m a l a r i u s ' writings to liturgical texts (tropes, and dramatic ceremonies) has to be considered. ( F o r another example of the possible connection between theological/allegorical Schlager 1983, 'Trinitas'.) ideas and liturgical music, see

It is not only the theological or allegorical significance of the liturgy that has consequences for musical matters, but also a great deal of its practical detail. I have already alluded to the matter of frequency of c o m m u n i o n , more precisely the n u m b e r of communicants at mass. While this is of crucial importance in recent liturgical history, it has practical consequences for the singing of chants d u r i n g c o m m u n i o n : how many are required? T o take another example, the introit chant, the first of mass, has at one time, it seems, consisted of the singing of most or all of a psalm, with an antiphon, then been reduced to a single psalm verse plus antiphon, then on high feasts been supplemented by numerous trope verses (making, in effect, a chant equivalent i n length to one of the longer psalms). T h e introit is traditionally a chant sung d u r i n g the entrance of the officiant (the priest who administers c o m m u n i o n ) and his assistants. A r e we to imagine entrance routes of varying length, varying numbers of persons in the procession, as calling forth these varying forms of introit chant? Some answers to questions such as these will be found in the course of this book. F o r many it is not easy today to gain a sense of the power of the liturgy, its slow r h y t h m f r o m day to day, week to week, year to year, its seasons of grief and penitence, hope and joy. T h o s e who attend church regularly are in a better position than most, for, albeit on a reduced scale, and interrupted by the numerous activities of the rest of the week, they may experience the sense of unity with the whole C h r i s t i a n c h u r c h in communion, and follow in Bible readings, prayers, and the texts of musical compositions the annual cycle of Christ's b i r t h , passion, and resurrection, supported by the witness of the O l d Testament, and uplifted by the ancient lyric texts of the psalms. Yet, for those with imagination, even the mere perusal of liturgical books can

awaken a sense of the immensity of the material involved, the majesty of the slow procession through the psalter, the steady flow of the great responsories, and again, the colourful juxtaposition of diverse forms and styles in the chants of mass. H o w m u c h more strongly, then, must those whose lives were (and are) celebration of the liturgy have experienced a continuous is urged, these things! T h e reader

therefore, to try to keep the musical material discussed in these pages in a liturgical perspective. B e y o n d that, a day spent attending the services in a monastic c o m m u n i t y teaches one more than many books. F o r while a chant may be discussed and dissected here as an object of study in itself, it must not be forgotten that it was composed in the creation of a complete way of life, the performance of the 'opus D e i ' , the work of G o d .

1.3.

T H E C H U R C H

YEAR

F r e r e 1930; M c A r t h u r 1953; Pascher 1963; A n d r e w H u g h e s 1982; Vogel 1986, 3 0 4 - 1 4 . F o r special parts of the year, H e r m a n n S c h m i d t 1956-7 a n d J u n g m a n n Festschrift 1959 (Easter), Botte 1932 ( C h r i s t m a s a n d E p i p h a n y ) , W i l l i s 1964 ( E m b e r D a y s ) . F o r i n f o r m a t i o n o n the saints f o u n d i n Western kalendars and service-books, there are n u m e r o u s v o l u m e s , b o t h great (the series Acta sanctorum and Biblioteca sanctorum) a n d small ( F a r m e r 1978). T h e lists i n G r o t e f e n d 1898 and D a l t o n and D o b l e 1941 are also very u s e f u l . F o r different days of worship in the Christian year, different prayers and lessons are intoned and different chants are sung. A t the beginning of a new year (usually reckoned to be the start of the A d v e n t season, which looks forward to Christ's birth), the whole mighty cycle begins again, repeating the prayers, lessons, and chants of the previous year. In order to appreciate the rhythm and variety of the huge body of liturgical material which has come d o w n to us, some sense of the way the church year is organized is essential. A l t h o u g h Christian worship is organized in a year's cycle, weekly units and cycles are also most important. S u n d a y , the day in the week when Christ rose from the dead, was of such significance that m u c h of the liturgy revolves around Sunday services. T o one seeking absolute regularity in adherence to the dates of a 365- (or 366-)day year, the Christian year is therefore an odd arrangement of fixed and (mostly) variable dates. It has its own c o m p e l l i n g logic, however, attuned to the natural r h y t h m of the seasons, the waxing and w a n i n g of the m o o n , the summer and winter solstices, the week and the day. M a n y individual elements within the yearly cycle are organized on an annual basis, in the sense that the special liturgies of the days in question come r o u n d only once in the year. E v e n these, however, are not always fixed to an unvarying calendar date. Some of the days are given to the commemoration of events in the life and ministry of Christ and his followers, and also to remembering the witness of later Christians, particularly those martyred d u r i n g the persecution of the early C h u r c h and those who

carried Christianity into new lands. H o l y days which commemorate saints are usually fixed to particular dates in the year, mostly that when the saint passed to his or her heavenly reward, or occasionally when the saint's relics were translated (solemnly removed) from one place to another. A n important, and generally more ancient part of the yearly cycle, however, is governed by the date of Easter, when Christ rose f r o m the dead. T h i s date varies from year to year, so that those parts of the Christian year which prepare for, and follow on, from Easter are said to be 'movable'. In fact, the fixed-date part is governed by the solar cycle, the movable part by the lunar cycle: two different temporal cycles have to be reconciled. E v e n when reference is being made to Christmas and Easter, however, the weekly unit may still be an organizing factor. T h u s services may take place on 'the S u n d a y after', such and such a date or day. Since the calendar dates of Sundays are not the same f r o m one year to the next, any day in the Christian year w h i c h is fixed on a particular datesuch as Christmas D a y , 25 D e c e m b e r , or a saint's d a y w i l l fall sometimes on a Sunday and sometimes not, and some recognition of this will often be f o u n d in the liturgy. Another basic layer of liturgical material is formed by the weekly recitation of the office, where a seven-day supply of material is s i m p l y repeated week after week. H e n c e many items in the liturgy are said to be 'proper', used only on one day, or certain days of the year, or 'ordinary', used on every or nearly every day. T h e r e is in fact a very large number of intermediate gradations between completely proper and totally ordinary, and it is impossible to give here more than a vague idea of the main outlines of the picture. (Andrew Hughes 1982 is a strikingly comprehensive and serious attempt to account for the patterns of repetitions throughout the year in later medieval books.) What should be borne in m i n d is the great variety of the possible arrangements. Formularies may be proper not simply to single feast-days, but also to seasons of the year, or to one day in the week (that is, not sung on the other six). M u c h office material is subject to complex variation of this sort: thus there is a different h y m n for each day of the week for L a u d s , but these may be displaced by a h y m n proper to the season at certain times of the year. Particularly during L e n t , the ' t r i d u u m ' (the last three days before Easter Sunday), and the Easter season generally (Easter Sunday to Whit Sunday), many 'ordinary' items will disappear or change place. M u s i c may also contribute to the 'properness' of a piece. W h i l e the text may remain the same for a certain period of the year, or even for the whole of it, the musical setting may vary from occasion to occasion. T h e best-known instances of this are the various melodies for some of the ordinary texts of mass, K y r i e , G l o r i a , C r e d o , Sanctus, and A g n u s D e i . Some of these, however, were associated with particular occasionsChristmas, Easter, feasts of the Blessed V i r g i n M a r y a n d were to that extent proper. T h e usual h y m n for Prime, lam according to season. Rather few events in Christ's life are commemorated on unchanging dates: his birth (Christmas D a y ) has traditionally been celebrated on 25 D e c e m b e r in the R o m a n church since the fourth century. (It was the pagan festival of the winter solstice when lucis ortu sidere, changes its melody

first adopted b y the church.) Practically all other fixed days are those of saints, the Blessed V i r g i n M a r y , and so o n . T h e movable period dependent upon Easter contains such days as A s h Wednesday (the start of the Lenten fasting period), Palm S u n d a y (when Christ entered Jerusalem, the start of the week leading to his crucifixion and resurrection), A s c e n s i o n D a y (when he was taken up into heaven), and W h i t S u n d a y (when the H o l y Spirit came upon the Apostles). Since every Sunday in the c h u r c h year had its o w n special prayers, lessons, and chants, the Sundays were usually reckoned in relation to the great feast-days, either those with a fixed date or those w h i c h were movable. Different places, periods, and liturgical books had their own ways of setting out the material required by this complex arrangement of holy days. F o r a correct performance of the liturgy it was essential to know the correct calendar date, the days when Sunday occurred, and, most importantly, when Easter fell. It became customary in the M i d d l e Ages to compile tables, sometimes k n o w n as 'compotus' or 'computus' tables, which set out this information in ready-reckoner f o r m . T h e s e usually contain code letters and numbers for days and years w h i c h assist in calculating the repetition of calendric cycles over a span of decades or even centuries. C o m p u t u s tables are sometimes found b o u n d with liturgical books, and many liturgical books are provided with a kalendar which sets out the yearly cycle of saints' days and other feasts. ( T h e spelling 'kalendar' is here employed for the actual d o c u m e n t ; 'calendar' is reserved for the general notion of a system of fixed dates.) T h e calculation of the relationship between the seven-day week and 365- (or 366-)day year and the date of Easter necessitates a knowledge of the solar cycle (yearly alternation of s u m m e r , with longer days, and winter, with longer nights) and the lunar cycle (waxing and waning of the m o o n ) . T h e 365-day year, with 366 days every fourth year, is an arrangement promoted by Julius Caesar, hence the term 'Julian calendar'. T h e days of the month were reckoned in R o m a n use from the m o o n was the Idas, Nonae. Kalendae, the first day (originally the first day of the new moon), backwards. T h e time of the full and nine days before that came the time of the quarter m o o n , the T o gain his 'leap year', Julius Caesar doubled the sixth before the K a l e n d s of

M a r c h , that is, the sixth day before the first day of M a r c h , 24 F e b r u a r y . S u c h a year was also k n o w n , therefore, as 'bissextile'. T h e lunar cycle coincides with the solar cycle every nineteen (solar) years: that is, nineteen years after a given new moon another new m o o n will appear, d u r i n g w h i c h period 235 lunations will take place. E a c h of the nineteen years in the cycle (known as the ' M e t o n i c ' cycle) was g i v e n i n G r e e k antiquity and therefore in R o m a n and medieval t i m e s a 'golden n u m b e r ' (Archer 1941, 4). T o find the golden n u m b e r of any year, the n u m b e r of the year is divided by 19 and 1 is added to the remainder. T h u s for 1990 the golden n u m b e r is (1990/19),- + 1 = 14 + 1 = 15. T h e Christians also assigned to each day of the year an alphabetical letter f r o m A to G , in order f r o m 1 January (A) onward. Saint's days, always fixed to one date in the year, thus always corresponded to one particular letter. T h e letters were k n o w n as 'dominical' or ' S u n d a y ' letters, for the relation between the occurrence of Sundays and the date of the day could be deduced therewith.

T h e predominant medieval system of finding the date of Easter was established at the C o u n c i l of Nicaea i n 325. T h e date depends first of all on the vernal equinox, then as now 21 M a r c h . Next one has to know which lunar cycle (28 or 29 days, beginning with a new moon) has its fourteenth day on or after 21 M a r c h . Easter falls on the first Sunday after that fourteenth day. T h u s in 1990 the relevant new moon fell on M o n d a y , 26 M a r c h , fourteen days after being M o n d a y 9 A p r i l , Easter Sunday thus falling on 15 A p r i l . T h e earliest possible date for Easter Sunday is 22 M a r c h and the latest 25 A p r i l . It w o u l d in theory have been possible for the Christians to have adopted a fixed date for Easter D a y , that of the year of Christ's resurrection. Its occurrence on Sunday (the day after the Jewish Sabbath), however, and its relationship to the Jewish important Passover (determined in a manner adapted by the Christians for Easter) made of it a movable feast. T h e correct calculation of Easter was one of the most accomplishments of a medieval priest. It could symbolize the difference between true and deviant faith, as in the disputation between representatives of R o m a n and Celtic practice Sunday). at the S y n o d of W h i t b y in 664 (Bede, trans. Sherley-Price, 186 f f . : the British used an 84-year cycle, and celebrated Easter on the fourteenth day if that was a It was a vital part of the Carolingian ecclesiastical computo, of 820, reforms, as witness H r a b a n u s M a u r u s ' treatise De (possibly of Irish origin). N o t only Easter itself but also the previous and subsequent weeks were associated in the movable portion of the c h u r c h year. Before Easter came the penitential season of L e n t , notionally a fast of forty days, corresponding to periods of fasting by Moses, Elijah, and Christ himself. T h e actual number of days varied: in fourth-century Jerusalem there were eight weeks of five-day fasts (Saturday and Sunday were exempt); in the Eastern churches in the M i d d l e Ages seven such weeks, plus H o l y Saturday (that is thirty-six days); in the West six weeks, excluding only Sundays (thirty-six days). F r o m the seventh century in the West, A s h Wednesday and the subsequent three days were added, making forty. T h e forty days were known also as Quadragesima, and that term was also given to the first Sunday of the period. By analogy, the previous Sundays became known as Quinquagesima (which is indeed fifty days before Easter), Sexagesima, and Septuagesima. T h e latter is a term first encountered in the Gelasian Sacramentary. A l t h o u g h not the start of the L e n t e n fast proper, it was marked in the M i d d l e Ages by a change to purple vestments and the exclusion of the w o r d 'alleluia' f r o m all services. T h e terms Septuagesima, etc., were suppressed in R o m a n usage in After Easter 1969. seven weeks, fifty days, until the Sunday of Sunday there are revised from previous versions

Pentecost. T h e important stage on the way is Ascension D a y , forty days after Easter. Pentecost was, like other feasts in the Christian year, originally a Jewish holy day. T h e term 'Pentecost' (literally 'fifty days') at first referred to the whole period, but was soon restricted to the day itself. T h e length of the time preceding Septuagesima, that is the period after E p i p h a n y , must therefore be adaptable in order to allow for the varying date of Easter. If Easter

is early, then there may be no more than one Sunday after E p i p h a n y . If it is late, then up to six will be celebrated. Similarly, the fixed start of A d v e n t will b r i n g to an end the series of Sundays after Pentecost, whose number varies according to Easter is early or late. F r o m about the ninth century the first Sunday after Pentecost was often given over to a commemoration of the H o l y T r i n i t y . T h e long series of Sundays through the s u m m e r season of the year might therefore be reckoned as Sundays after Pentecost or after T r i n i t y . ( F r o m the fourteenth century the T h u r s d a y after T r i n i t y was usually celebrated as the Feast of C o r p u s C h r i s t i , officially instituted by U r b a n I V in 1264.) Interestingly, the enumeration of these Sundays is generally different according to whether a mass or an office book is involved. In missals and graduals it was customary to set out a cycle of Sundays after Pentecost (or T r i n i t y ) , n u m b e r e d 1 to 23 (24, 25, or however many were deemed to be necessary by the compiler of the b o o k ; the later Sundays might be omitted). specific dates of the calendar, necessary. Before the fixed date of Christmas comes the A d v e n t season, w h i c h begins with the S u n d a y nearest St A n d r e w ' s D a y , 30 N o v e m b e r . A t least four Sundays therefore It had precede Christmas. After Christmas, E p i p h a n y on 6 January is celebrated as the day when C h r i s t was 'manifested' to the Gentiles, that is, to the three M a g i . additional significance as the day of Christ's baptism (that was its primary significance in the East, whence the feast originally came), and of the miracle C h r i s t performed at the w e d d i n g feast at C a n a . A t four times in the year special days of fasting and abstinence are observed, the socalled E m b e r D a y s (so called because of the ashes sometimes marked on the head at this time). A l t h o u g h at first their date was somewhat variable, and only three of them were observed, by the sixth or seventh century there were four, k n o w n often as the 'quatuor tempora'. T h e y fell on the Wednesday, F r i d a y , and Saturday of four weeks, after St L u c y (13 D e c e m b e r ; or, alternatively, d u r i n g the third week of A d v e n t ) , September). of special T h e liturgy d u r i n g these days is which require separate The Quadragesima Sunday (that is, d u r i n g the first week of L e n t ) , W h i t S u n d a y , and the Exaltation of the H o l y Cross (14 somewhat similar to those of L e n t . There Tuesday, are several other days observance, description in later chapters. and Wednesday A m o n g these are the Rogation D a y s , the M o n d a y , Office books, however, usually tied the Sundays to and it was the early S u n d a y s that were omitted if whether

before Ascension D a y (which is o n T h u r s d a y ) .

preceding Sunday, actually the fifth after Easter, is thus known as Rogation S u n d a y . O n the Rogation D a y s special prayers of intercession, i n c l u d i n g the 'greater L i t a n y ' , are chanted (cf. L a t i n 'rogare': to ask), and processions are held. Processions will be discussed later, but it may be stated here that Palm S u n d a y is naturally distinguished by special processional rites, as befits the day commemorating entry into Jerusalem. Later in that week, H o l y Week, Christ's t r i u m p h a l the liturgies of M a u n d y

T h u r s d a y , G o o d F r i d a y , and H o l y Saturday are unique, as well as very ancient i n many respects. Some of the special ceremonies in these days concern the blessing and

bringing into use of special symbolic objects: candles on the feast of the Purification of the Blessed V i r g i n M a r y (2 February), penitential ashes on A s h Wednesday, p a l m branches on Palm Sunday, the N e w F i r e , paschal candle, and font on Easter E v e . W h e n no special day occurred, the liturgy of the day reverted to a ferial f o r m . ( T h e L a t i n word 'feria' actually means 'feast'; in L a t i n Christian use it came to mean a day of w o r s h i p ; it was inevitably most often used when no other obvious designation c o u l d be given to a day, and therefore came to mean 'non-feast day'. Weekdays f r o m M o n d a y to F r i d a y are 'feria i i ' to 'feria v i ' ; Saturday is usually 'Sabbato' rather than 'feria v i i ' , and Sunday, though actually 'feria i ' , is always called ' D o m i n i c a ' . ) In the celebration of mass, this meant repeating the formularies of the previous Sunday or feast-day, with some reduction of solemnity; in the office a regular weekly or ferial set of services, independent of any feast, was resumed. Some especially solemn parts of the year, however, had proper formularies (prayers, lessons, chants, etc.) for each day of the week. T h e s e are the days of L e n t , and the week after Easter. It should be said, however, that as time went on there was a tendency to provide more proper material (that is, prayers, chants, and particularly lessons special to a particular day); it is not u n c o m m o n to find lessons and prayers assigned to particular days in Advent (Wednesday, E m b e r Week) and elsewhere in late medieval books. T a b l e s 1.3.1. and 2 give lists of the two sections of the church year described briefly so far. T h e two components of the church year sketched briefly abovethe fixed part associated with Christmas and the movable part associated with Easterwere joined by a large number of commemorative days for saints and other holy persons. T h e decision as to w h i c h saints were to be remembered by special services was to a certain extent a local one, but all liturgical books have services for days of considerable antiquity, when the heroes of the early church are honoured. T h e n there will be remembered those who brought Christianity to the country, diocese, or area relevant T a b l e 1.3.1 The Church Year: the fixed part dependent upon Christinas F r i d a y , Saturday outside the

1st S u n d a y i n A d v e n t a s near St A n d r e w (30 N o v . ) as possible 2nd Sunday i n Advent E m b e r D a y s : Wednesday, F r i d a y , S a t u r d a y i n the week after St L u c y (13 D e c . ) 3rd S u n d a y i n A d v e n t 4th S u n d a y i n A d v e n t V i g i l of C h r i s t m a s D a y , or C h r i s t m a s E v e (24 D e c . ) N a t i v i t y , or C h r i s t m a s D a y (25 D e c . ) Octave of the N a t i v i t y , or Feast of the C i r c u m c i s i o n , or N e w Year's D a y (1 Jan.) E p i p h a n y (6 Jan.) Sundays after E p i p h a n y (up to 6 as required) E m b e r D a y s : Wednesday, F r i d a y , S a t u r d a y i n the week after Exaltation of the H o l y Cross (14 Sept.)

J.

The Church

Year

T a b l e 1.3.2. 77?^ Church year: the movable part dependent on Easter Septuagesima S u n d a y (9th before Easter) Sexagesima S u n d a y (8th before Easter) Q u i n q u a g e s i m a S u n d a y (7th before Easter) A s h Wednesday Ember Friday E m b e r Saturday Quadragesima S u n d a y (1st i n L e n t , 6th before Easter) 2 n d S u n d a y i n L e n t (5th before Easter) 3rd S u n d a y i n L e n t (4th before Easter) 4th S u n d a y i n L e n t (3rd before Easter) Passion S u n d a y (5th S u n d a y i n L e n t , 2 n d before Easter) Palm Sunday Maundy Thursday Good Friday H o l y Saturday Easter S u n d a y 1st S u n d a y after Easter ( L o w S u n d a y ) 2nd S u n d a y after Easter 3rd S u n d a y after Easter 4th S u n d a y after Easter 5th S u n d a y after Easter Ascension D a y (Thursday) S u n d a y after Ascension Pentecost S u n d a y , or W h i t S u n d a y E m b e r D a y s : Wednesday, F r i d a y , Saturday T r i n i t y Sunday S u n d a y s after Pentecost or after T r i n i t y (up to 25 as required)

to where the book is used. F i n a l l y , there may be commemorations particular church for which the book is compiled. F r e r e (1930) is an account of how the cycle of sanctoral

peculiar to the

developed, and it is

instructive to look through the kalendars edited by W o r m a l d (1934, 1939, 1946), for example, to see the typical intermingling of universal and local commemorations. A s an example I give in T a b l e 1.3.3. in an abbreviated form the entries of the month of October f r o m the kalendar in an eleventh-century E n g l i s h manuscript, the so-called 'Portiforium of St Wulstan', C a m b r i d g e , C o r p u s Christi College 391. (Most of the text of this manuscript is edited in A n s e l m Hughes 1958-60, the kalendar i n abbreviated f o r m in Dewick and Frere 1921 and W o r m a l d 1934. A facsimile of the October page is given by Dewick and Frere, p i . I.) T o help the reader I have given the dates 1 to 31 in the first c o l u m n . T h e s e do not appear in the original manuscript. In the second column (the original first column) appears a series of roman numerals which indicate when the full moon will appear in particular years of the nineteen-year

cycle. T h e golden number for 1 October is 1 6 : in the sixteenth year of the cycle the full moon will fall on that day. ( T h i s information is particularly important, of course, for the period when Easter may be celebrated.) T h e next two columns of letters in the original are not of liturgical significance and are omitted here. T h e n R o m a n fashion, beginning with a large K L for the Kalendae, NON (Nonae), before I D (Idus), and before the Kalendae next m o n t h . M a n y of the saints' names inscribed for October on this kalendar might be f o u n d on almost any L a t i n Christian kalendar. Others are more local. I have separated these out in the lists given after the kalendar in T a b l e 1 . 3 . 3 . Some of these feasts are of especial importance. S S S i m o n and Jude have a V i g i l m a r k e d : that is, the previous day will also be marked by liturgical material in their honour. (Some saints have the further distinction of an Octave, one week later, when their liturgy will be repeated once more.) O n 31 October a Vigil is marked for the next day, 1 N o v e m b e r , which is A l l Saints' D a y . Some feasts are marked 'lc. xii' (twelve lessons) in red ink, to show their special solemnity: the Night Office will be celebrated with the full number of lessons and reponsories. A m o n g the additions (preceded by an asterisk) the Translation of St Oswald of Worcester is entered in red ink (indicated by R in brackets in the table). ( T h i s way of indicating specially important feasts is the origin of the popular expression 'red-letter day'.) come the dominical letters for each date. After that is given the date not in m o d e r n but in then the days before at the b e g i n n i n g of the

T a b l e 1.3.3. Kalendar

for October:

Cambridge,

Corpus Christi College

391

* denotes material added i n a later hand

A[E]QUAT E T OCTOBER SEMENTIS TEMPORE LIBRAM

1 2 3 4 5 6 7 8 9 10 11 12 13

xvi
V

A B C D E F G

KL OCT

vi N O N
V

Sanctorum R e m i g i i . U e d a s t i . G e r m a n i . * x i i l c . * O b i t u s Laefgaeuae mater G o d i t h e . Sancti L e o d e g a r i i episcopi.

xiii ii
X

iiii N O N iii ii N O N
NON

* Sancte F i d i s . virginis et m a r t i n s , x i i l c . * O b i t u s /Eadwi decani. Sancti M a r c i pape. M a r c e l l i et A p u l c i .

* T R A N S L A T I O S A N C T I O S W A L D ! A R C H I E P I S C O P I . et S a n c t i

xviii vii
XV

A B C D E F

viii I D vii vi I D
V

D e m e t r i i m a r t i r i s . (R) Sanctorum D i o n i s i i . R u s t i c i . et E l e u t h e r i i . Sancti P a u l i n i episcopi. Sancti U u i l f r i d i episcopi. * l c . x i i

iiii

iiii I D iii

14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31

xii i ix

G
A

ii

ID

Sancti Calesti pape. * C o m m e m o r a t i o S a n c t o r u m q u o r u m reliquie hie habentur. (R)

IDUS

B C D E F G A B C D E F G A B C

xvii K L N O V xvi
XV K L

Sancti L u c e euangeliste et Sancti Iusti m a r t y r i s .

SOL I N S C O R P I O N E M

xvii vi xiiii iii xi xix viii xvi v

xiiii xiii K L xii xi K L x ix K L viii vii K L vi vKL iiii iii K L ii

O r d i n a t i o sancti D V N S T A N I archiepiscopi.

* O b i t u s H e n r i c i episcopi * S a n c t o r u m C r i s p i n i et C r i s p i n i a n i .
V1GILIA APOSTOLORUM SYMONIS. ET IUDE.

Sancti Q u i n t i n i m a r t y r i s . V I G I L I A .
NOX HORAS .XIII. DIES . X .

Sates. (i)

T h e feasts may be classified as follows: feasts of the Blessed Virgin Mary, Apostles, and other biblical persons: 18 L u k e the Evangelist; 28 the Apostles Simon and Jude

(ii)

early martyrs, bishops (usually of Rome, i.e. popes), and Church Fathers: 7 Pope Mark (336), the martyrs Marcellus and Apuleius; 14 Pope Calixtus I (d. 222)

(iii) saints local to North France or England: 1 Remi of Reims, Vedast of Arras, and Germanus of Auxerre; 2 Ledger of A u t u n ; 9 Denis of Paris and his companions Rusticus and Eleutherius; 10 Paulinus of York (d. 644); 12 Wilfrid of Y o r k (c.633-709); 18 Justus of Bcauvais; 31 Quentin of Saint-Qucntin (iv) Additions: 1 Obit of La,*fgacva, mother of Lady Godiva, benefactress of Worcester and Bishop Wulfstan; 6 Faith, apparently a 3rd-c. martyr; obit of dean /Eadwi; 8 Translation of St Oswald of Worcester, carried out by Wulfstan in 1089; also Demetrius, a 3rd-c. martvr; 15 Feast of the Relies at Worcester, instituted by W'ulfstan on the Octave of St Oswald; 21 Dunstan of Canterbury (909-88); 24 Obit of Bishop Henry (d.1189);" 25 the 3rd-c. Roman martyrs Crispin and Crispinian; one legend has it that they fled persecution to Faversham in Kent

All the indications of twelve lessons for certain feasts are in a later hand.

T h i s k a l e n d a r w a s c l e a r l y c o n s u l t e d f o r s o m e t i m e after i t s c o m p i l a t i o n , f o r i t h a s r e c e i v e d n u m e r o u s a d d i t i o n a l e n t r i e s , a l l o f m o r e o r less l o c a l s i g n i f i c a n c e . T h e s e also are l i s t e d a f t e r T a b l e 1 . 3 . 3 . T h e o b i t s ( e n t r i e s r e c o r d i n g t h e d e a t h s o f p r o m i n e n t p e r s o n s ) a r e u n l i k e l y t o b e of l i t u r g i c a l m o m e n t . R a t h e r t h e k a l e n d a r has b e e n u s e d as a c o n v e n i e n t p l a c e t o note these s e c u l a r e v e n t s . T h e r e is a certain a m o u n t of a s t r o n o m i c a l i n f o r m a t i o n o n the k a l e n d a r , the n u m b e r of h o u r s o f d a y a n d n i g h t , t h e p o s i t i o n o f t h e s u n i n t h e z o d i a c . N o t a l l k a l e n d a r s i n c l u d e t h i s , especially later m e d i e v a l e x a m p l e s , b u t p a r t i c u l a r l y f r o m t h e t h i r t e e n t h century o n w a r d kalendars were often much more specific about t h e degree of

solemnity of the feast: not simply how many lessons were to be sung, but its grade according to liturgical dress (for example, whether or not copes were to be worn), the n u m b e r of 'rulers' (leading singers) for the choir, and so o n . T h e various possibilities were s u b s u m e d under a series of headings: feast of first class, second class, d o u b l e , semi-double, etc., by w h i c h were understood all the possible distinctions of ritual at a particular institution. (Different churches had different systems of grading. F o r m u c h useful information on the consultation of later kalendars, see A n d r e w H u g h e s 1982.) Setting out the feasts to be celebrated in a f o r m convenient for quick consultation, kalendars are often useful for determining the provenance of a manuscript, according to the local elements they may contain. T h e indication i c . xii' (twelve lessons) shows that C a m b r i d g e , C o r p u s C h r i s t i College 391 was used at a monastic institution, and its numerous Worcester peculiarities leave its provenance in no doubt. T h e rest of the manuscript comprises computus tables, and material for the Benedictine office: a psalter, h y m n a l , canticles, collectar, blessings, and a series of offices for saints, Sundays, and so o n . (See I I I . 6 ) . A list only of the more important saints' days, such as might be f o u n d i n almost any medieval Katherine, kalendar, is given in T a b l e 1.3.4. Some of these feasts (Margaret, N i c h o l a s , T h o m a s of Canterbury) became popular only later i n the

M i d d l e A g e s . ( F o r some later feasts see Pfaff 1970.)

1.4. A n d r e w H u g h e s 1982.

T H E DAILY

R O U N D

In the R o m a n C h u r c h a fairly constant daily pattern or succession of services was established b y the eighth century, although certain days of the year differed f r o m the majority i n having special services of an individual character. T h i s generalization holds good despite the inevitable modifications which occurred as time went on and the varying preferences of different regions and churches. T h e most important service of the day was Mass, which usually took place in the m o r n i n g . ( T h e actual time varied f r o m one season of the year to the other, and also, of course, f r o m place to place. T h e same is true of all the other daily services.) T h e start of the day, f r o m a liturgical point of view, was anciently the evening before, when the Vespers service took place, notionally at sunset. ( T h i s convention was taken over by early Christians f r o m the Jewish reckoning of time.) It was followed by C o m p l i n e , a brief service before the c o m m u n i t y retired for the night. O n Sundays and important feasts the liturgical day was reckoned to extend further and to include the next Vespers and C o m p l i n e service, and this meant that for all the subsequent ferias Vespers and C o m p l i n e were not the evening before, so to speak, but at the end of the day. ( C o m p l i n e had very little proper material, special to one day rather than another, so its assignment was not a sensitive matter.) If two feast-days fell on consecutive days, then usually Vespers of the second feast took precedence.

4. T a b l e 1.3.4. Saints JANUARY 14 16 20 21 22 25 28 2 5 22 Felix M Marcellus P & M F a b i a n & Sebastian M M Agnes V & M Vincent M C o n v e r s i o n of P a u l A P * Octave ( S e c o n d Feast) of A g n e s P u r i f i c a t i o n of the B V M Agatha V & M Peter's C h a i r (Cathedra) * widely celebrated

The

Daily

Round Church

in the Roman AU 1 3 6 10 15 24 29 8 14 21 22 29 30 9 18 28 1 8 11 22 25 30 6 13 21 26 27 28 20 31

FEBRUARY

GUST Peter's C h a i n s ( V i n c u l a ) Invention of S t e p h e n M and c o m p a n i o n s * Transfiguration * Laurence M A s s u m p t i o n of the B V M Bartholomew A P * Augustine E P & D * Beheading of J o h n the Baptist * N a t i v i t y of the B V M E x a l t a t i o n of the H o l y C r o s s Matthew A P & E V * M a u r i c e and his c o m p a n i o n s M M * M i c h a e l the A r c h a n g e l Jerome D * D e n i s E P & M and his c o m p a n i o n s * LukeEV* Simon & J u d e A P P * A l l Saints * Four Holy Crowned Martyrs Martin E P Cecilia V & M K a t h e r i n e of A l e x a n d r i a V & M * Andrew A P Nicholas E P * LucyV&M Thomas A P * Stephen M J o h n the Evangelist H o l y Innocents T h o m a s of C a n t e r b u r y M * Silvester P
c.

SEPTEMBER

MARCH 12 G r e g o r y P 21 Benedict A B * 25 A n n u n c i a t i o n of the B V M APRIL 4 Ambrose E P & D * 23 George M MAY 1 P h i l i p & James A P P 3 I n v e n t i o n of the H o l y Cross * 6 J o h n before the L a t i n Gate JUNE 24 J o h n the Baptist 26 J o h n & P a u l M M 29 Peter & P a u l A P P 30 Paul A P JULY 10 Seven Brothers M M 11 T r a n s l a t i o n of Benedict A B * 20 Margaret * 22 25 M a r y Magdalene * James A P *

OCTOBER

NOVEMBER

DECEMBER

* not AB AP BVM D EP

in = = = = =

the 'Hadrianurn', the Roman sacramentary sent to Charlemagne in the late 8th Abbot E V = Evangelist Apostle IVI = Martyr Blessed Virgin Mary P = Pope' Doctor V = Virgin Bishop

D u r i n g the night, the Night Office was sung, the longest of the services other than Mass. T h e service developed from the early Christian Vigils service, and was k n o w n by that name occasionally up until the eleventh century. Its most c o m m o n name is M a t i n s , but this name was also used in medieval times for the service at daybreak, L a u d s , and is therefore avoided here. Yet again, the name N o c t u r n s is occasionally f o u n d , reflecting the composition of the service as a number of 'nocturns'. After L a u d s , notionally at daybreak, there followed a succession of D a y H o u r s , or Little H o u r s . T h e s e were Prime, T e r c e , Sext, and N o n e (or N o n e s ) , which in theory took place at the first, third, sixth, and ninth hour of the day (beginning, in s u m m e r at least, at our 6 a . m . ; the 'hours' were shorter, and began later, in winter). T h e main mass of the day, often called the magna missa or high mass, usually came between T e r c e and Sext on Sundays and feasts, after Sext on ferial days. T h e r e were, however, often other masses of one kind or another (low mass), especially in religious communities. Medieval monasteries frequently celebrated a m o r n i n g mass before the daily meeting in chapter. A daily mass for the dead was also often celebrated. Later i n the M i d d l e Ages, when many important churches had acquired altars and chantries specially endowed so that mass could be said (not usually sung) at them daily, the n u m b e r of masses celebrated was staggeringly large. (Harrison 1963, 56 cites the L i n c o l n statutes of 1531, which indicate forty-four masses daily.) Almost all of these were of little musical significance, said by a single priest throughout. A n important exception to this generalization was the Mass of the Blessed V i r g i n M a r y , which f r o m the thirteenth century became a weekly celebration, on Saturday, and was often embellished by the polyphonic setting of some of its chants. S u c h a mass, often taking place in a specially built L a d y Chapel dedicated to the V i r g i n , is known as a votive mass. Sometimes a weekly cycle of votive masses was organized, for example: for the H o l y T r i n i t y on Sunday, the H o l y Spirit M o n d a y , Angels T u e s d a y , A l l Saints Wednesday, C o r p u s Christi T h u r s d a y , the H o l y Cross F r i d a y , and the Blessed V i r g i n M a r y on Saturday. So ardent was veneration of the Blessed V i r g i n in the later M i d d l e Ages that a complete cycle of H o u r s of the B V M , parallel with the main cycle, was often sung or said. Some monastic observances at other times of the day were in many ways as formalized as a liturgical service. O n e such occasion was the daily meeting which monastic communities held in their chapter-houses. It usually included the reading of the martyrology, containing accounts of the saints to be commemorated on the day in question. Several versicles and responses were said, with Paternoster and K y r i e , and readings might include passages from the Rule of St Benedict, or f r o m the gospels. After the business matters had been attended to, the meeting ended with a series of psalms for the dead, recited in the chapter-house or on the way to the church for mass. Little if anything in the meeting seems to have involved singing. A m o n g other monastic additions to the office (their description takes more than 100 pages in T o l h u r s t 1943) may be mentioned: (i) the Office of the D e a d , that is Vespers, the N i g h t Office, and L a u d s , said in parallel with the main or canonical office; from the first word of its first

antiphon the Vespers service was known as 'Placebo', and the N i g h t Office as 'Dirige'; (ii) a similarly formed Office of A l l Saints; (iii) the fifteen G r a d u a l Psalms (Pss. 119-33) said privately by each m o n k seated ready for the start of the N i g h t Office; (iv) the T n n a O r a t i o , a threefold devotion performed three times daily, before the N i g h t Office, before Prime in summer, and before T e r c e in winter, and after Compline, (v) whose main constituent was the saying of three groups of penitential psalms, each group introduced by a prayer (oratio); the Psalmi Familiares, psalms said after each hour for the royal family. T h e exact time of the services depended on their content (shorter days i n winter might mean shorter day services; ferial services were shorter than festal ones), o n whether a period of fasting was in force, and on the other obligations of the c o m m u n i t y . T h e extent to which a monk's waking hours would be occupied with religious devotions or services, in church or elsewhere, may be seen f r o m m o d e r n editions of any medieval monastic 'horarium' (timetable), for example those of tenthand 217, eleventh-century England, i n the Regularis Concordia and the statutes of L a n f r a n c , respectively, published by K n o w l e s (1963, 714, 448 f f . ; K n o w l e s 1969, based o n K n o w l e s 1951). T a b l e 1.4.1 shows the usual timetable at eleventhcentury C l u n y , the foremost Benedictine monastery of its time. F o r most days of the year, the succession of services followed this order. Several special days, such as the t r i d u u m , the three days preceding Easter Sunday, followed a somewhat different pattern. O n many high feasts a solemn procession was made, most c o m m o n l y before mass. A n account of the most important of these special days is given later. First an outline of the more usual services is presented. A s with the constituent parts of the day, so the contents of each individual service varied from occasion to occasion, being especially dependent on the solemnity of the day. In the descriptions of each service in the sections below, as usual in this book, only a generalized account of 'normal' practice is therefore given. ( M o s t of these services accumulated varied amounts of prefatory material in the form of prayers, versicles, and responses, but this is not described.) Mass, the most important and complex of the services, is described first. A l t h o u g h it had some elements analogous to features of the office hours, its essential nature and history resulted i n many unique forms. Whereas the office hours are static, contemplative services, Mass has elaborate opening ceremonies, and the elevated

ritual of the eucharist itself. Its chants are exceptionally varied. T h e introit a n d c o m m u n i o n resemble an antiphon with psalm verses simply intoned. T h e offertory is an elaborate chant with verses i n highly ornate musical style. A f t e r the o p e n i n g rituals, with the K y r i e litany chant, and the extended G l o r i a h y m n , come lessons and melismatic chants, almost the only moments of repose in a seemingly dramatically unfolding performance. T w o of its important chants, the Sanctus and A g n u s D e i , are actually part of a long and elaborate series of prayers. T h e most regular part of the office services, by contrast, was the singing of psalms.

T a b l e 1.4.1. The liturgical Hunt 1967, 101-3)

horarium

at Cluny in the late eleventh

century

(after

Winter (extra L e n t e n observances i n brackets) T r i n a Oratio last 32 psalms Night office Mares

Summer T r i n a Oratio Night office familiares

4 psalmi fam

2 or 4 psalmi

(2 psalms prostrate) (Procession to C h u r c h of O u r L a d y ) L a u d s of A l l Saints, L a u d s of the D e a d , extra p s a l m o d y Lauds extra p s a l m o d y 4 psalmi Prime familiares (2 psalms prostrate) (at d a w n ) familiares Prime (at d a w n ) familiares 4 psalmi Litany 4 psalms 2 or 4 psalmi Litany 7 psalms Missa Chapter ' p r i v a t e ' masses Terce 4 psalmi Missa Sext 4 psalmi Litany Missa maior m i d d a y meal None familiares Vespers familiares familiares (2 psalms prostrate) familiares matutinalis (2 psalms prostrate) Missa Sext 2 or 4 psalmi familiares maior Chapter 'private' masses Terce 2 or A psalmi familiares matutinalis
IMIUIS

2 or 4 psalmi T r i n a Oratio

familiares

(2 psalms prostrate, 7 penitential psalms)

m i d d a y meal None 4 psalmi Vespers 4 psalmi (2 psalms prostrate) (Procession to C h u r c h of O u r L a d y ) V e s p e r s of A l l Saints, V e s p e r s of the D e a d e v e n i n g meal ( V i g i l s of the D e a d ) Compline T r i n a Oratio (2 psalms prostrate)

e v e n i n g meal

Compline T r i n a Oratio

weekly

round

of

the

Office would hear

the

singing of

all

150

psalms,

if

uninterrupted by feasts of one kind or another, which w o u l d have their own proper psalms. M o s t of the first two-thirds of the psalms were sung d u r i n g the N i g h t Office, the last third d u r i n g Vespers. L a u d s had the last three psalms, w h i c h , since they begin with the word 'Laudate', are supposed to have given the service its name. O t h e r s were used at various hours because of their allusions to particular times of day, as Ps. 62 at L a u d s : ' O G o d thou art my G o d : early will I seek thee'; or Ps. 4 at C o m p l i n e , with its ninth verse: T will lay me down in peace, and take m y rest . . .'. T h e rather complex deployment of the psalms across the week's services is outlined in both secular and monastic cursus by A n d r e w H u g h e s 1982, 52. A simplified outline is given in T a b l e 1.4.2. W h e n it is stated below that a certain n u m b e r of psalms are sung at such and such a service, it should be understood that 'psalm' might actually mean more than one psalm according to the numerical series, if a particularly brief psalm were i n v o l v e d . C o r r e s p o n d i n g l y , longer psalms might be split into sections. T a b l e 1.4.2. Psalms Secular cursus: allotted to office hours, fecial cursus

N i g h t O f f i c e : 1 - 3 , 6 - 2 0 , 2 6 - 4 1 , 4 3 - 9 , 51, 5 4 - 6 1 , 63, 65, 6 7 - 8 8 , 9 3 - 1 0 8 V e s p e r s : 1 0 9 - 1 6 , 119, 1 2 1 - 3 2 , 1 3 4 - 4 1 , 1 4 3 - 7 P r i m e , T e r c e , Sext and N o n e : 2 1 - 5 , 53, 117-18, 120 L a u d s : 5, 42, 50, 52, 62, 64, 66, 89, 9 1 - 2 , 99, 142, 1 4 8 - 5 0 C o m p l i n e : 4, 30, 90, 133 Monastic curs us: N i g h t O f f i c e : 2 0 - 3 4 , 3 6 - 4 1 , 4 3 - 9 , 5 1 - 5 , 5 7 - 6 1 , 65, 6 7 - 7 4 , 7 6 - 8 6 , 88, 9 2 108 V e s p e r s : 1 0 9 - 1 6 , 1 2 8 - 3 2 , 1 3 4 - 4 1 , 143-7 P r i m e , T e r c e , Sext a n d N o n e : 1 - 2 , 6 - 1 9 , 118-27 L a u d s : 5, 35, 42, 50, 56, 6 2 - 4 , 66, 75, 87, 89, 91, 117, 142, 1 4 8 - 5 0 C o m p l i n e : 4, 90, 133
O n the numbering of the psalms in medieval usage, as opposed to the English Authorized Version of the Bible, see Andrew Hughes 1982, 51, 224-6.

The

descriptions

below begin with the

N i g h t Office, because it is the other services by its lessons

most and

substantial

musically,

distinguished from the

associated great responsories. Next in size, and somewhat similar to each other, are Vespers and L a u d s , while C o m p l i n e and the so-called Little H o u r s of P r i m e , T e r c e , Sext, and N o n e are comparatively simple and brief. A l l except the four Little H o u r s contain not only psalms but one or more canticles, passages f r o m the O l d Testament or other sources in the nature of 'songs', and sung exactly like psalms. T h e best-known examples are the three N e w Testament canticles sung towards the close of Vespers, C o m p l i n e , and L a u d s , respectively: the Magnificat ( L u k e 2: 4 6 - 5 5 , the S o n g of the Blessed V i r g i n M a r y , w h e n G a b r i e l announced to

her that she was to bear Christ), the N u n c D i m i t t i s ( L u k e 2: 2 9 - 3 2 , the S o n g of S i m e o n , when he had seen Christ), and the Benedictus ( L u k e 1: 6 8 - 7 9 , the S o n g of Zacharias, when his son John the Baptist was b o r n ) . Fourteen others were sung on a weekly basis at L a u d s , and one other (varying with the season) was sung i n the N i g h t Office in monastic uses on Sundays and feasts. A l l the offices contain at least one responsory. T h e s e chants, consisting of respond and psalm verse, with alternating solo and choral sections, are of two k i n d s . T h o s e of the N i g h t Office, the 'great' responsories, are elaborate, melismatic chants, among the chief glories of the chant repertory. T h e other hours usually have a 'short' responsory, syllabic in style, whose simple character has occasioned the belief that they may contain vestiges of the most ancient recoverable psalmodic practice. A t Vespers on high feasts it was sometimes the practice to use one of the great responsories. ( T h e y were c o m m o n l y thus employed also in processions, at least in the later M i d d l e Ages.) T h e other musical element in the office services to w h i c h attention may be drawn in advance is the h y m n , one of which was generally sung at each of the hours. T h e musical genres just mentioned are those that are discussed in separate chapters later in this book. Naturally, less attention is paid to the numerous versicles and responses, brief dialogues between priest (or other person) and choir, w h i c h are intoned to simple formulas at many points in the services.

1.5. J u n g m a n n 1962; A n d r e w H u g h e s 1982.

MASS

T h e actual start of mass was preceded by various ceremonies of preparation. O n Sundays, these included the blessing and sprinkling of salt and water on the main altar of the c h u r c h , with prayers, responses, and the antiphon with psalm verse me V . Miserere mei and Gloria (Vidi aquam V . Confitemini Asperges in Paschal time, from

Easter Sunday to W h i t S u n d a y ) . If several altars were to be sprinkled, the ceremony might involve a procession. After the priest and his assistants had vested themselves, to the accompaniment of more prayers and the recitation of Ps. 42, they m o v e d to the altar. T h e introit accompanied this solemn entry. Because it was part of the proper, a different introit being sung on each important day of the year, it was usually the first chant copied for a particular day in a gradual or missal. T h e K y r i e and G l o r i a followed, their texts remaining basically the same throughout the year and therefore being reckoned part of the ordinary of mass. F r o m a musical point of view, the distinction is not strictly appropriate, since a variety of melodies were available for both chants, and particular melodies became associated with particular feast-days, or classes of feasts (important, not so important, feasts of the Blessed V i r g i n M a r y , etc.). Furthermore, tropes of one kind or another might make the K y r i e and G l o r i a proper to a particular feast.

5.

Mass

23

T h e priest then intoned the collect proper to the day. T h i s ended the opening section of the mass. T h e r e followed the lessons and responsorial chants of mass. T h e lessons were the epistle and the gospel, between which were sung various combinations of gradual, alleluia, sequence, and tract, d e p e n d i n g on the liturgical season. T h e gradual was a more or less constant item, except for the Saturday of Easter week and the days up to W h i t S u n d a y , when an extra alleluia was sung. T h e alleluia was not sung f r o m Septuagesima to the end of L e n t , nor on penitential E m b e r D a y s outside L e n t , though this was relaxed for the Pentecost E m b e r D a y s . T h e tract was sung only in penitential seasons: on Septuagesima and succeeding Sundays until Easter, and on M o n d a y s , Wednesdays, and F r i d a y s during L e n t , beginning with A s h Wednesday. T h e sequence was sung only on the highest feasts, and not usually on those falling in Lent. T h i s part of mass was considerably extended on the E m b e r Saturdays. F o u r lessons were each followed by a gradual (an alleluia at Pentecost), then a reading from D a n i e l was followed by the canticle (sometimes labelled 'tractus' or 'hymnus') with refrain (Benedictus Hymnum es Domine dicite V . Et laudabilis Omnipotentem in A d v e n t , Benedictus semper adorant es in V . Et firmamento benedicunt V. in in L e n t ,

September. M o d e r n practice has Benedictus

es on all three occasions.) A f t e r that

came the epistle, another tract, and the gospel. T h e Wednesday of the fourth week of L e n t also had extra lessons: this was the so-called ' D a y of the Great Scrutiny', when catechumens (see below) were examined before being admitted to baptism. T h e gospel was intoned by the deacon. T h e C r e d o was then sung (from eleventh century, and only on the most solemn days). In the early centuries the mass up until the gospel had been regarded as a 'foremass' service, for all Christians to attend. What followed, however, was for baptized Christians o n l y . By the central M i d d l e Ages no trace remained of the dismissal of the catechumens nevertheless, (those undergoing preparation for baptism), which would previously T h e change in the character of the liturgy is noticeable, ceremonies having been succeeded by lessons and the entrance have taken place here. the

responsorial chants, w h i c h now gave way to the solemn prayers and chants of the eucharistic ritual. T h e gifts were brought to the altar as the offertory chant was sung, and the music might last through the priest's preparation of the altar, reception of and prayers over the gifts, i n c l u d i n g the silent prayer known as the secret (proper to the day). T h e r e followed the preface, w h i c h began with short phrases sung in dialogue between priest and congregation and was continued by the priest alone, a long text with sections proper to the season. It led directly into the Sanctus chant, sung by the choir. T h e text of the preface always requires the Sanctus as its natural conclusion, for example: (Preface, ending) . . . E t ideo c u m angelis et archangelis, c u m thronis et d o m i n a t i o n i b u s , cuinque o m n i m i l i t i a caelestis exercitus, h y m n u m gloriae tuae c a n i m u s , sine fine dicentes: Sanctus, Sanctus, S a n c t u s D o m i n u s D e u s Sabaoth . . .

A n d therefore w i t h angels and archangels, w i t h thrones and d o m i n a t i o n s , and the w h o l e host of the heavenly a r m y , we sing the h y m n of thy g l o r y , evermore s i n g i n g : H o l y , H o l y , H o l y L o r d G o d of Hosts . . . S a n c t u s a n d B e n e d i c t u s are m u s i c a l l y l i n k e d , b o t h c o n c l u d i n g w i t h ' H o s a n n a i n e x c e l s i s ' , b u t f r o m t h e l a t e r M i d d l e A g e s it w a s c u s t o m a r y t o s p l i t off t h e Benedictus a n d s i n g it d u r i n g a l a t e r p a r t of t h e p r a y e r s of t h i s p a r t of m a s s , f o r e x a m p l e a f t e r t h e c o n s e c r a t i o n of the b r e a d a n d w i n e . T h e p r a y e r s b e g a n w i t h t h e c a n o n , a l o n g s e r i e s of b r i e f f o r m u l a s w h i c h i n c l u d e C h r i s t ' s w o r d s ' T h i s is m y b o d y . . . T h i s i s t h e c u p of m y b l o o d . . .' T h e P a t e r n o s t e r ( L o r d ' s P r a y e r ) w a s s u n g s h o r t l y a f t e r , a n d t h e b r e a d w a s b r o k e n . D u r i n g t h e n e x t g r o u p of p r a y e r s a s m a l l p o r t i o n of t h e b r e a d m i n g l e d w i t h the w i n e , a n d the A g n u s D e i chant was s u n g b y the c h o i r . s o l e m n p r a y e r s were s u n g w h i l e the b r e a d a n d w i n e were c o n s u m e d b y the was sung during the clearing-up of actions, after which the priest was Further priest the the

( t h e y w e r e r a r e l y r e c e i v e d b y a n y o n e else i n t h e M i d d l e A g e s ) . T h e c o m m u n i o n c h a n t intoned of postcommunion prayer thanksgiving (proper). During the dismissal

c o n g r e g a t i o n , the priest w o u l d intone another p r o p e r p r a y e r , the S u p e r (literally 'over the people'), d u r i n g L e n t .

Populum

T t e m i s s a est' ( ' G o , y o u are d i s m i s s e d ' ) , t h e w o r d s w h i c h g a v e t h e m a s s its n a m e (missa), w a s t h e u s u a l f o r m of d i s m i s s a l s u n g b y t h e p r i e s t , a n s w e r e d ' D e o g r a t i a s ' ( ' T h a n k s b e t o G o d ' ) b y t h e c h o i r . H o w e v e r , it w a s g e n e r a l l y u s e d o n l y w h e n t h e G l o r i a w a s s u n g , that is d u r i n g C h r i s t m a s , E p i p h a n y , E a s t e r , a n d t h e s u m m e r s e a s o n . O n other occasions the c o n c l u s i o n was ' B e n e d i c a m u s D o m i n o R . D e o gratias', and t h i s f o r m u l a w a s also u s e d w h e n a n o t h e r s e r v i c e f o l l o w e d i m m e d i a t e l y u p o n m a s s , as w o u l d be t h e case o n s e v e r a l of t h e h i g h e s t feasts w i t h e x t e n d e d l i t u r g i e s ( A n d r e w H u g h e s 1982, 93). S i n c e e a r l y t i m e s it has b e e n the c u s t o m , f o r v a r i o u s p r a c t i c a l r e a s o n s , to p r e s e r v e t h e b r e a d ( o c c a s i o n a l l y also t h e w i n e , also b r e a d o n t o w h i c h a d r o p o f w i n e h a s b e e n p l a c e d ) c o n s e c r a t e d at m a s s b u t n o t c o n s u m e d t h e r e . T h i s is k n o w n as r e s e r v a t i o n of the sacrament. It m a y be k e p t i n o n e of s e v e r a l p l a c e s : the sacristy, outside the c h u r c h ; a n a u m b r y i n t h e w a l l of t h e c h u r c h ; a p y x s u s p e n d e d o v e r t h e a l t a r ; o r a tabernacle o n the altar. I n the M i d d l e A g e s , a n d for centuries afterwards, c o m m u n i o n by any p e r s o n other t h a n the priest was relatively u n k n o w n , outside one or t w o of the most i m p o r t a n t d a y s of t h e c h u r c h y e a r . F o r t h e o l o g i c a l r e a s o n s ( a n d p e r h a p s , f o r m a n y , b e c a u s e of t h e l a c k of c l o s e r c o n t a c t w i t h t h e s a c r e d e l e m e n t s ) t h e r e d e v e l o p e d f r o m t h e t h i r t e e n t h c e n t u r y o n t h e p r a c t i c e of e l e v a t i o n . A f t e r it h a d b e e n c o n s e c r a t e d , the celebrant was r a i s e d o n h i g h t h e h o s t (that i s , t h e b r e a d e l e v a t i o n of t h e w i n e w a s a l a t e r t r e n d ) f o r a l l t o see. T h e s i n g i n g of t h e B e n e d i c t u s c h a n t , m u s i c a l l y a p a r t of t h e S a n c t u s , o f t e n d e l a y e d to c o i n c i d e w i t h t h i s s o l e m n m o m e n t . V e n e r a t i o n f o r t h e s a c r e d host e v e n t u a l l y r e s u l t e d i n r i t u a l f o r m s , i n p a r t i c u l a r B e n e d i c t i o n . H e r e the host was e x h i b i t e d outside mass, a n d a p r o c e s s i o n m i g h t be m a d e w i t h i t , c u l m i n a t i n g i n a general b l e s s i n g w i t h the h o s t . F a v o u r i t e a c c o m p a n y i n g

6. Office c h a n t s w e r e h y m n s s u c h as Adorn v e r s e a n d f o l l o w i n g of Pange te devote a n d Tan turn ergo sacramentwn

IS ( t h e fifth

lingua

gloriosi).

A s a r e s u l t o f t h e i r great p o p u l a r i t y ,

m a n y o f these h a v e m u l t i p l e m e l o d i e s . ( T h e c h i e f r e s u l t of t h e i n c r e a s e i n v e n e r a t i o n f o r t h e h o s t w a s t h e e s t a b l i s h m e n t of t h e feast o f C o r p u s C h r i s t i , i n t r o d u c e d i n L i e g e in 1246, p r e s c r i b e d f o r the w h o l e c h u r c h b y U r b a n I V i n 1264.)

1.6. (i) (ii) (iii) (iv) (v) (vi)

O F F I C E

T h e N i g h t Office ( M a t i n s , V i g i l s , or N o c t u r n s ) i n Secular U s e T h e N i g h t Office i n M o n a s t i c U s e L a u d s i n Secular U s e Lauds in Monastic Use Vespers i n Secular U s e Vespers i n M o n a s t i c U s e

(vii) C o m p l i n e (viii) P r i m e , T e r c e , Sext, a n d N o n e T o l h u r s t 1943; A n d r e w H u g h e s 1982. (i) The Night Office (Matins, Vigils, or Nocturns) in Secular Use

A p a r t f r o m t h e d i f f e r e n c e s b e t w e e n festal a n d f e r i a l f o r m s o f t h e N i g h t O f f i c e , t h e r e are o t h e r i m p o r t a n t d i f f e r e n c e s b e t w e e n s e c u l a r a n d m o n a s t i c f o r m s . ( B y ' s e c u l a r ' , ' R o m a n ' , o r ' c a n o n i c a l ' is u n d e r s t o o d t h e u s e o f n o n - m o n a s t i c c h u r c h e s s u c h as m o s t cathedrals, collegiate chapels, a n d parish churches.) A s w i t h most of the offices, the s i n g i n g of p s a l m s a n d a n t i p h o n s f o r m s an i m p o r t a n t part of the service, b u t the N i g h t O f f i c e is d i s t i n g u i s h e d b y a g r o u p of great responsories, s u n g i n association w i t h the l e s s o n s . T h e s e n u m e r o u s a n d l e n g t h y r e s p o n s o r i a l c h a n t s are at o n c e a m o n g t h e c h i e f g l o r i e s o f t h e c h a n t r e p e r t o r y a n d y e t a m o n g i t s least k n o w n p a r t s , s i n c e i n m o d e r n t i m e s t h e s i n g i n g of t h e N i g h t O f f i c e i n its m e d i e v a l m a n n e r has a l l b u t ceased. B e f o r e t h e N i g h t O f f i c e b e g a n , P a t e r n o s t e r , Ave Mafia (Credo in Deum meum pat rem intende omnipotentem) R . Domine were said silently. in ad adiuvandum me festina, w i t h Gloria, which a n d the Apostles' Creed

T h e N i g h t O f f i c e s t a r t e d w i t h v e r s i c l e s a n d r e s p o n s e s . T h e first w a s u s u a l l y Deus adiutorium

b e g a n e a c h o f t h e o f f i c e h o u r s (it w a s o f t e n o m i t t e d d u r i n g t h e t r i d u u m , t h a t is t h e last three days before Easter S u n d a y , a n d d u r i n g Easter W e e k ) . T h i s was f o l l o w e d b y Domina The labia mea aperies R . Et os meuim annuntiabit exultemus laudem Dominum) tuam. w a s s u n g , w i t h its I n v i t a t o r y p s a l m ( P s . 9 4 , Venite

a n t i p h o n , t h e i n v i t a t o r y . A h y m n f o l l o w e d (less c o m m o n l y f o u n d i n e a r l y m e d i e v a l s e c u l a r uses t h a n i n m o n a s t i c o n e s ) . A f u r t h e r v e r s i c l e a n d r e s p o n s e l e d t o t h e first N o c t u r n . T h i s w a s a g r o u p of psalms a n d a n t i p h o n s , lessons a n d responsories, w i t h more brief versicles a n d responses. T h e n u m b e r of n o c t u r n s d e p e n d e d o n the s o l e m n i t y o f t h e d a y , less i m p o r t a n t d a y s h a v i n g o n l y o n e .

P s a l m s a n d a n t i p h o n s b e g a n each n o c t u r n . T h e r e w e r e d i f f e r e n t c o n v e n t i o n s a b o u t t h e n u m b e r of p s a l m s a n d a n t i p h o n s . T h e s i n g i n g of a n a n t i p h o n p r e c e d e d t h e w h o l e g r o u p of p s a l m s a n d c o n c l u d e d t h e s e r i e s , b u t it m i g h t n o t be p e r f o r m e d b e t w e e n i n d i v i d u a l p s a l m s i n t h e g r o u p . T h e s a m e w a s t r u e of t h e G l o r i a ( ' G l o r y b e to t h e F a t h e r . . . ' ) , a d d e d as a final verse to a l l o r o n l y to t h e last of t h e p s a l m s . S o m e of t h e c o m m o n e r s c h e m e s w e r e the f o l l o w i n g ( A = A n t i p h o n , P s = P s a l m , G l = patri): O n f e r i a l d a y s : A , t w o P s , G l , A s i x t i m e s ( t o t a l of 12 P s , 6 A ) O n S u n d a y s : A , f o u r P s , G l , A t h r e e t i m e s ( t o t a l of 12 P s , 3 A ) O n m a j o r f e a s t s : A , P s , G l , A t h r e e t i m e s ( t o t a l of 3 P s , 3 A ) A f u r t h e r v e r s i c l e a n d r e s p o n s e w e r e s u n g , c o m m o n l y to a t o n e w h i c h , in adiutorium, r e c u r r e d at o t h e r h o u r s of t h e d a y . like the Gloria

o p e n i n g Deus

T h e P a t e r n o s t e r w a s s a i d s i l e n t l y u n t i l the final v e r s e , w h i c h w a s s a i d a l o u d . T h e n t h e l e c t o r a s k e d f o r t h e b l e s s i n g of t h e o f f i c i a t i n g p r i e s t . A t the e n d of t h e l e s s o n he w o u l d intone a further versicle. A f t e r e a c h l e s s o n ( w i t h v e r s i c l e s ) , o n e of t h e great r e s p o n s o r i e s w a s s u n g . I n s e c u l a r use t h r e e l e s s o n s a n d t h u s t h r e e r e s p o n s o r i e s w e r e s u n g i n e a c h n o c t u r n . T h e u s u a l f o r m of t h e r e s p o n s o r y w a s r e s p o n d - v e r s e - r e s p o n d , b u t f o r t h e last r e s p o n s o r y of t h e n o c t u r n t h e G l o r i a w o u l d be u s e d as a s e c o n d v e r s e , as it w e r e , m a k i n g t h e s c h e m e R , V , R , G l , R . ( T h e r e p e a t s of t h e r e s p o n d w e r e u s u a l l y p r o g r e s s i v e l y s h o r t e n e d . ) T h e l e s s o n s m i g h t n o t a l l be b i b l i c a l . T h e nocturn) had O l d Testament readings first n o c t u r n (on some days the o n l y d u r i n g the Easter season), from (comment(except

d i f f e r e n t b o o k s a c c o r d i n g to s e a s o n . T h e o t h e r s c o m m o n l y h a d s e r m o n s

a r i e s o n t h e a p p r o p r i a t e l i t u r g i c a l t h e m e b y o n e of t h e F a t h e r s of t h e C h u r c h , s u c h as S t A u g u s t i n e of H i p p o o r S t G r e g o r y t h e G r e a t ) o r h o m i l i e s ( c o m m e n t a r i e s , a g a i n b y a C h u r c h F a t h e r , o n a passage f r o m t h e G o s p e l s , w h i c h w o u l d t h e r e f o r e i t s e l f be i n t o n e d at t h e start of t h e l e s s o n ) . T h e l e s s o n s o n a s a i n t ' s d a y m i g h t b e d r a w n f r o m h i s vita o r legenda ( a c c o u n t of h i s l i f e , d e a t h a n d m i r a c l e s t h e t e r m s m e a n l i t e r a l l y ' l i f e ' a n d 'that w h i c h is to be r e a d ' ) . T h e n u m b e r of n o c t u r n s to be s u n g a c c o r d i n g t h e a b o v e p a t t e r n s d e p e n d e d u p o n t h e s o l e m n i t y of t h e d a y . S u n d a y s a n d f e a s t - d a y s u s u a l l y h a d t h r e e . A n i m p o r t a n t e x c e p t i o n w a s E a s t e r S u n d a y , w h i c h h a d o n l y o n e ( b u t s o m e later m e d i e v a l b o o k s g i v e it t h r e e ) , a n d t h i s w a s also s o m e t i m e s t h e p a t t e r n f o r t h e rest of t h e E a s t e r s e a s o n u p to and including W h i t Sunday. A l t h o u g h i n g e n e r a l a n t i p h o n s a n d r e s p o n s o r i e s m a y be s a i d to be p r o p e r , i n t h e s e n s e t h a t e a c h d a y u s u a l l y h a d its o w n p a r t i c u l a r c h a n t s , t h e r e w a s a c o n s i d e r a b l e a m o u n t of r e u s e w i t h i n w e e k s o r s e a s o n s . F o r e x a m p l e , f o r t h o s e p a r t s of t h e y e a r w h e r e n i n e responsories were s u n g o n S u n d a y a n d three o n each w e e k d a y , the S u n d a y n i n e m i g h t be r e - e m p l o y e d d u r i n g the w e e k , i n sets of t h r e e . (See A n d r e w H u g h e s 1982 f o r s o m e of t h e c o m p l e x s c h e m e s e v o l v e d . ) T h e N i g h t O f f i c e e n d e d w i t h t h e s i n g i n g of t h e T e D e u m o n S u n d a y s a n d o n m o s t feasts e x c e p t i n A d v e n t a n d L e n t . I n t h e later M i d d l e A g e s , the last r e s p o n s o r y m i g h t

6. Office

27

b e r e p e a t e d i f t h e T e D e u m w e r e n o t s u n g . If L a u d s d i d n o t i m m e d i a t e l y f o l l o w t h e N i g h t O f f i c e , t h e n t h e c l o s i n g f o r m u l a ( p r i e s t ) Benedicamus gratias domino V . (choir) Deo w o u l d b e s u n g . ( T h e c o n v e n t i o n s a b o u t w h e n it w a s s u n g a r e s o m e w h a t

u n c l e a r : t h e p r e c e d i n g s t a t e m e n t is d e r i v e d f r o m A n d r e w H u g h e s 1 9 8 2 , 6 6 . ) (ii) The Night Office in Monastic Use

M o n a s t i c u s e ( t h e B e n e d i c t i n e p a t t e r n is r e f e r r e d to h e r e , b u t n o t a l l m o n a s t i c uses were exactly the same) differed i n m a n y i m p o r t a n t details f r o m the secular n o r m o u t l i n e d a b o v e , t h o u g h the basic pattern was s i m i l a r . O n l y the chief d i s s i m i l a r i t i e s are pointed out here. T h e l a r g e r d i f f e r e n c e s are t h a t a l t h o u g h t h e n u m b e r of n o c t u r n s w a s g e n e r a l l y t h r e e on Sundays a n d feasts, there were t w o o n ferias ( n o t o n e as i n s e c u l a r u s e ) . F u r t h e r m o r e , t h e n o c t u r n s w e r e n o t of a n i d e n t i c a l p a t t e r n . A f t e r the o p e n i n g versicle a n d response, P s . 3 was intoned, w i t h o u t any a n t i p h o n . T h e n u m b e r s of p s a l m s a n d a n t i p h o n s , lessons a n d responsories i n each n o c t u r n were substantially different f r o m secular patterns. T h e a n t i p h o n - p s a l m pattern was the following: Ferias, both nocturns: either: or: S u n d a y s a n d feasts: first nocturn: A , Ps, G l , A s i x times A , Ps, G l , A s i x times A , three canticles, G l , A ( t o t a l o f 13 A ) O n s u m m e r f e r i a s , t h e rest o f t h e first n o c t u r n h a d b u t o n e l e s s o n a n d r e s p o n s o r y , a n d the s e c o n d n o c t u r n o n l y a very brief lesson, n o m o r e t h a n a verse of s c r i p t u r e , c o m m o n l y c a l l e d a capitulum (chapter). T h e r e followed a versicle a n d response, the short K y r i e l i t a n y , Paternoster, a n d a closing collect. W i n t e r f e r i a s w e r e s i m i l a r e x c e p t t h a t i n t h e first n o c t u r n t h e r e w e r e t h r e e l e s s o n s , each f o l l o w e d b y a r e s p o n s o r y . On Sundays a n d feasts, the three n o c t u r n s each h a d f o u r lessons with their r e s p o n s o r i e s . F u r t h e r m o r e , a f t e r t h e T e D e u m , a n d v e r s i c l e s a n d r e s p o n s e s , a passage f r o m the G o s p e l was i n t o n e d , m a k i n g an entirely different c l i m a x to the service. O n C h r i s t m a s D a y the g o s p e l w a s the G e n e a l o g y of C h r i s t f r o m St M a t t h e w ' s G o s p e l , o n E p i p h a n y t h e G e n e a l o g y f r o m S t L u k e . T h e h y m n Te decet In some early antiphoners, for example laus was sung, then Gall, f o l l o w e d t h e b l e s s i n g a n d final c o l l e c t , w i t h B e n e d i c a m u s D o m i n o w h e n a p p r o p r i a t e . the H a r t k e r A n t i p h o n e r (St S t i f t s b i b l i o t h e k 3 9 0 - 3 9 1 ; P a l M u s I I / l ) , t h e first t w o n o c t u r n s e a c h h a v e t h r e e l e s s o n s a n d r e s p o n s o r i e s , t h e t h i r d n o c t u r n also s o m e t i m e s t h r e e o f e a c h , m o r e o f t e n f o u r . T h i s is u n d e r s t o o d t o b e a s u r v i v a l o f e a r l i e r a r r a n g e m e n t s w h e r e i n m o n a s t i c use w a s n o t as s t r o n g l y d i f f e r e n t i a t e d f r o m s e c u l a r as w a s l a t e r t h e c a s e . second n o c t u r n : third nocturn: A , P s , G l , A s i x times A , six Ps, G l , A

(iii) Lauds

in Secular

Use

L a u d s and Vespers were two similar services, at sunrise and sunset, respectively. O f the two, it may be said that Vespers has the larger body of material proper to particular days of the week, or to various seasons of the year. In secular use, L a u d s began with versicles and responses, the first of which was, as usual with the office services, Deus only after the last psalm. In the weekly or ferial cycle, the psalms on Sunday were repeated d u r i n g the week, except for the second, which was different on each of the other six days. R e g a r d i n g psalms it should be understood that the third psalm was Pss. 62 a n d 66 together, the fourth was one of the lesser canticles, and the fifth was Pss. 148-50. L i k e the second psalm, the lesser canticle changed daily, and also according to season; there were fourteen i n all (listed by A n d r e w H u g h e s 1982, 365). Feast-days w o u l d occasion the selection of other psalms and another canticle, but the pattern remained the same. T h e r e followed a brief chapter, with choral response ' D e o gratias', a hymn, a versicle and response, and then the major canticle of L a u d s , the Benedictus, with its antiphon (a relatively long and elaborate one). F i n a l blessings and prayers followed and the Benedicamus D o m i n o . in adiutorium. T h e r e followed five psalms, either each with its G l o r i a and antiphon, or else with only one antiphon and the G l o r i a said

(iv) Lauds

in Monastic

Use

In monastic use L a u d s had almost the same form as i n secular use. T h e psalms were chosen, or arranged, differently; but the notional number of five (including the lesser canticle) was the same. Monastic L a u d s , however, included a short responsory after the little chapter.

(v)

Vespers in Secular

Use Vespers on most Sundays and important feasts was

A s mentioned above (1.4),

celebrated twice, first in its ancient position as a vigil ceremony anticipating the succeeding holy day, secondly at the end of the same day. M o s t of the material of the two would be identical, though with a certain reduction in solemnity, by using c o m m o n rather than proper items, omissions, and shortenings, at Second Vespers. ( A n d r e w H u g h e s 1982, 69 ff. gives detailed information.) N o t only d i d Vespers have a structure similar to that of L a u d s , but some of the items for any one day might be sung at both L a u d s and V e s p e r s : for example, the large antiphon for the major canticle, the psalm antiphons, chapter, and h y m n . Instead of the opening versicle Deus I, M e l n i c k i melody 39). T h e psalms for the weekly cycle form a continuous numerical sequence at Vespers, in adiutorium, omitted anyway around Easter, a ninefold K y r i e was sung during Easter week, the so-called 'Paschal K y r i e ' (Vatican

and there is none of the repetition d u r i n g the week of Sunday items that characterizes ferial L a u d s . T h e notional number of five psalms is the same, but a lesser canticle forms no part of the group. D u r i n g Easter week, only three psalms were sung, with one G l o r i a and a n t i p h o n ; they were followed by the Easter gradual Hec dies, with verse changing day by day, and an alleluia varied similarly through the week. After the chapter on the more important days of the year, a responsory was sung (as in monastic L a u d s , but here not on days of lesser importance). Occasionally this was one of the great responsories, rather than a short one. Particularly notable among the antiphons for the Vespers canticle, the Magnificat, are those for ferial days before Christmas, the great ' O ' antiphons, so called because their texts all begin with ' O ' , all of which use the same melody.

(vi)

Vespers

in Monastic

Use

T h e essential difference between secular and monastic Vespers was the presence of only four psalms i n monastic use. O n l y a smaller number of psalms could therefore be sung d u r i n g the weekly cycle, the others being taken into the Little H o u r s ( T a b l e I.6.1.). T a b l e 1.6.1. Psalms at ferial Vespers Monastic 109-12 1 1 3 - 1 6 , 128 (115+116 as 1 psalm) 129-32 134-7 138-40 (138 as 2 psalms) 141, 143 as 2 psalms, 144 first half 144 second half, 1 4 5 - 7 ( 1 1 9 - 2 7 to the L i t t l e H o u r s )

Secular Sunday Monday Tuesday Wednesday Thursday Friday Saturday 109-13 114-16,119-20 121-5 126-30 131-2, 134-6 137-41 143-7

At the end of both L a u d s and Vespers it was sometimes customary to say or sing a series of antiphons, called 'suffrages', for the Blessed V i r g i n M a r y and the patron saints of the c h u r c h .

(vii)

Compline

C o m p l i n e , the last service of the evening, and the four short hours of the day, Prime, T e r c e , Sext, and N o n e , were similar in length and content, although their histories were not identical. Versicles and responses opened the service as usual, followed by four psalms, sung with one antiphon only and G l o r i a : A , 4 Ps, G l , A . T h e h y m n came next, then the

chapter was intoned, and a short responsory was sung. After the versicle and response Custodi nos R . Sub umbra ('Keep me as the apple of thine eye . . .') came the canticle N u n c dimittis with its antiphon. O n more important days the closing items w o u l d include the preces, beginning with K y r i e invocations (only intoned, as usual with prayers), L o r d ' s Prayer and Apostles' C r e e d (both said silently until the last verse). T h e r e might also be confession and absolution. After the Benedicamus the service ended (at least from the later M i d d l e Ages) with a votive antiphon to the V i r g i n M a r y , and a collect for the same. Rather little of C o m p l i n e changed d u r i n g the year, or even d u r i n g the week. to take its place. T h e r e followed the Easter gradual Hec as at Vespers. Monastic use differed in that there were but three psalms, sung without an antiphon (but usually each with its G l o r i a ) . M o r e surprisingly, the N u n c D i m i t t i s was not part of monastic C o m p l i n e , except when sung d u r i n g Easter week as a psalm. T h e service was thus even more like one of the Little H o u r s than was secular C o m p l i n e . dies V . In resurrectione In tua Easter week, however, Ps. 90 fell out of the cursus, and the N u n c dimittis was m o v e d
y

Blessed

(viii) Prime,

Terce,

Sext, and

None three psalms with only one

In each of these Little H o u r s there were generally

antiphon, but usually each with its G l o r i a : A , Ps + G l , Ps + G l , Ps 4- G l , A . O n Sunday and some feasts, however, Prime had nine psalms, except d u r i n g the Easter season. Prime was also different in that after the Ouincunque Easter. U n l i k e other hours, these had the h y m n after the opening formularies. After the psalms came the chapter with response, short responsory, but no canticle. T h e r e were the usual series of versicles and responses and other prayers at either end of the service, similar to the arrangement at C o m p l i n e . Monastic use had four psalms on Sunday at Prime Ps. 118), difference from secular arrangements in the Little H o u r s . (actually four sections of and short responsories were not usually sung, but otherwise there was little vult psalms the Athanasian Creed was usually sung, with an antiphon, except d u r i n g the t r i d u u m and

1.7. Bailey 1971.

PROCESSIONS

Liturgical processions were a c o m m o n feature of medieval worship on feast-days. T h e i r use was particularly subject to local variation, since they were necessarily adapted to the design of the church buildings and the geography of the town where they took place, and the identity of the relics which often featured prominently in the proceedings. But although irregular and variable in frequency and f o r m , processions

were highly organized rituals, whose rubrics are set out in medieval books with as m u c h care a n d exactitude as those of any other service. T h e main purpose of the procession was to visit some holy place within the main church (such as an altar) or without (another church in the town). Chants would be sung on the way there and on the way back. T h e r e a station was made, that is, the persons in the procession halted. Prayers w o u l d be said, chants sung, and usually some special ceremonial action p e r f o r m e d , such as the sprinkling of the altar with holy water or the veneration of the relics of a saint preserved at the place of the station. Sometimes mass would be celebrated. T h u s , on the feast of the Purification of the Blessed V i r g i n M a r y (2 February), it was the custom to make a procession with lighted candles, symbolizing Christ as the light of the w o r l d . T h e occasion in the gospels from which this ceremony takes its theme is the Virgin's visit to the temple in Jerusalem for the Jewish purification ritual. In L u k e 2: 2 - 3 9 it is recounted how the child Jesus was presented in the temple (as therefore, in medieval ritual also demanded), and the aged S i m e o n recognized h i m as the Christ, declaring h i m to be 'a light to lighten the Gentiles'. After T e r c e , liturgies, an array of candles was blessed by the priest, with prayers, sprinkling them with holy water, and censing them. T h e y were distributed to all those present, while the N u n c D i m i t t i s canticle (Simeon's words themselves) was sung, with the antiphon Lumen ad revelationem gentium. T h e deacon turned to the people and sang the versicle ' L e t us proceed in peace', and they answered 'In the name of C h r i s t . A m e n . ' T h e procession then set off, a typical order having the thurifer first, swinging the censer, then the subdeacon with the cross, with two acolytes with candles on either side, then all the clergy in order of rank, ending with the priest, and deacon on his left. D u r i n g the procession, grand ceremonial antiphons would be sung, such as the Adorna thalamum suum (translated from a Byzantine original: see Wellesz 1947, The 60 f f . t h e processional ceremony apparently derives from Byzantine usage).

procession w o u l d perambulate the churchyard or cloister, and on returning the priest and clergy would change vestments for the celebration of mass, which followed immediately. V e r y different was the atmosphere on A s h Wednesday, the beginning of L e n t . A s usual on a feria, Mass would follow Sext, but it was preceded by the ceremony of the laying of ashes on the heads of those present (originally of sinners who thenceforth wore sackcloth and were excluded f r o m H o l y C o m m u n i o n , until their period of penitence ended with a ceremony of reconciliation on M a u n d y T h u r s d a y ) . T h e service might begin with the singing of the Seven Penitential Psalms (Pss 6, 32, 51, 102, 38, 130, 143) with an antiphon. T h e priest would intone various prayers over a

bowl of ashes, and versicles and responses would be sung. H e would sprinkle holy water over the ashes; then he would first receive them on his own forehead in the form of a cross and then place them in the same fashion on the foreheads of the others present. T h e antiphon Exaudi habitu in cinere et cilicio nos Deus, with an intoned psalm verse Salvum me fac, often accompanied this action, and also ceremonial antiphons such as Immutemur

('Let us change our garments for sackcloth and ashes') and

Emendemus

in melius

('Let

us amend . . .')

with verse Adiuva

nos

Domine.

procession would f o r m , and move to the west door of the c h u r c h , where the penitents would be expelled, one by one, kissing the hand of the official delegated for the task. T h e door would be shut and the clergy and choir would return to the east end of the church for mass. D u r i n g the processional movement, antiphons such as those mentioned would be sung. Some processions were regular and oft-repeated ceremonies, for example the procession before the main mass held on Sundays and major feasts at many medieval churches. Others, being proper to a particular saint, would often contain special items of considerable musical interest, for example a responsory with a prosula, or even a chant set in polyphony. M u c h of the material sung or said in processions might be borrowed from other services of the day. A favourite practice in the later M i d d l e Ages was to borrow one of the great responsories of the N i g h t Office (which was w h y the Solesmes Processionale study of the processional monasticum poorly or of 1893 has long been a useful source for the in modern seem editions). to Several been terms often have responsories, responsories represented (the there and back, ceremonial

antiphons

interchangeable) were of a different musical character, having possibly survived f r o m Gallican liturgical uses of the time before the Carolingian move towards lengthy verse (hence the designation 'responsorial'). Bailey (1971) lists several other points during the day, apart f r o m the procession before mass, when processions were held in S a r u m use: d u r i n g Vespers in Easter week and on Saturdays through the s u m m e r ; after Vespers on the eve of a saint with an altar in the c h u r c h , and on the four saints' days after Christmas ( S S Stephen, J o h n the Evangelist, H o l y Innocents, T h o m a s of C a n t e r b u r y ) ; d u r i n g the N i g h t Office in Easter week; after the N i g h t Office on Easter D a y ; and after N o n e on Wednesdays and Fridays in L e n t , the Rogation D a y s , the t r i d u u m , and on the eve of W h i t S u n d a y . Some of the most ancient and solemn liturgies of the church year, such as those of the t r i d u u m , include processions, and these are mentioned in their place in the next chapters. T h e unique colour and splendour of many of the processionswith their special vestments, crosses, censers, and ranks of choir and clergyseen against the steady regularity of the office hours, must have contributed greatly inspiring solemnity of the medieval liturgy. to the aweRoman practice. T h e y were frequently long chants in ornate style, sometimes with a less

1.8. (i) (ii) (iii) (iv) (v) (vi)

C E R E M O N I E S OF H O L Y

W E E K

General Palm Sunday Maundy Thursday Good Friday H o l y Saturday or Easter E v e Easter S u n d a y

T y r e r 1932; Y o u n g 1933; H e r m a n n S c h m i d t 1 9 5 6 - 7 ; H a r d i s o n 1965; A n d r e w H u g h e s 1982. General of H o l y Week are among the most ancient and universal of the

(i)

T h e ceremonies

C h u r c h . Here the normal sequence of mass and office hours is frequently disturbed, and the content of the services is usually not like that of mass and the office hours on other days. L e n t , the period of the c h u r c h year before Easter, is popularly understood to be a penitential season. T h e penance implied was in ancient times a very real observance, undertaken freely or by c o m m a n d of an ecclesiastical authority, and involved the 1.7.) exclusion of the person concerned from mass until a ceremony of reconciliation on M a u n d y T h u r s d a y . ( T h e ceremony of exclusion has been mentioned above, L e n t was also the time of preparation for the catechumens, those being trained and

instructed for b a p t i s m . After a series of 'scrutinies' on various L e n t e n weekdays (the most important, the Great Scrutiny, took place on the Wednesday of the fourth week in L e n t ) , to ascertain who was suitable, baptism finally took place on Easter E v e . N u m e r o u s rituals of deep symbolism surrounded the final days before Easter, such as the extinguishing of candles for M a u n d y T h u r s d a y and then the lighting of the great Paschal C a n d l e , the light of C h r i s t , on Easter E v e . C o i n c i d i n g as it d i d with the passage from winter to spring, this progress from penitential preparation and the death of Christ to his resurrection, and the rebirth in Christ of those newly admitted to communion, gave the Passiontide and Easter liturgies immense power and importance. W h e n C h r i s t had died on G o o d F r i d a y , no consecration of bread and wine for c o m m u n i o n , his body and blood, was possible until the V i g i l Mass (or Paschal Mass) on Easter E v e . A previously consecrated eucharist had to be used, with corresponding alteration of the ceremony, which was therefore called the Mass of the Presanctified. Some of the general differences in liturgical matters between L e n t and the rest of the year were indicated briefly above, when the essential structure of each service was indicated ( 1 . 5 - 6 ) . A t a ceremonial level, a new note was struck on the fifth Sunday of L e n t , known as Passion S u n d a y , when crucifixes, images, and pictures in the church were veiled in p u r p l e , and the G l o r i a patri was omitted from psalms, invitatories, and introits. O n the next S u n d a y , P a l m Sunday, the most important procession of the year was made, a symbolic re-enactment of Christ's entry into Jerusalem.

(ii) Palm

Sunday

T h e procession on P a l m Sunday took place between T e r c e and Mass, as usual on a Sunday. T h e main point of the action is that the priest, as Christ's representative, will make a ceremonial entry into his church from the outside, as if entering Jerusalem. Quite often the procession w o u l d cover a considerable distance, visiting other

churches or special places, where a consecrated host might have been placed: this would then represent Christ on his entry. T h e amount of music normally provided in medieval service booksprocessional antiphons and hymns, and so o n i s correspondingly generous. T h e r e is of course great variety between different books in the exact f o r m of the procession and correspondingly in the choice of chants (see E d m u n d Bishop, 1918 for discussion of the practice at Rouen, Salisbury, and H e r e f o r d ) . What is sketched below is merely a typical order of ceremony. T h e special objects used in the procession, palms, branches of olive trees, or other branches, David sung, must of course first be blessed, consecrated for the purpose. T h i s was filio c o m m o n l y done to the accompaniment of the short ceremonial antiphon Hosanna consecrated with vestimenta

(without verse), with prayers, sprinkling with holy water, and censing. T h e palms were then distributed, while verses f r o m Psalms 23 and 46 were the antiphons Pueri Hebreorum portantes and Pueri Hebreorum after every pair of verses. T h e gospel might then be read, before the

procession f o r m e d up and left the c h u r c h . Some of the most notable of processional antiphons and h y m n s were sung d u r i n g this ceremony, i n c l u d i n g the antiphons Cum appropinquaret populus, venit Collegerunt pontifices et honor. V . Unus autem ex ipsis, and Gloria laus T h e antiphon Ingrediente Dominus, Domino Cum audisset rex audisset and the refrain-hymns En V . Cum

was c o m m o n l y sung at the moment of re-entry into the c h u r c h . A final station might be made before the principal cross of the church. Mass w o u l d then begin. T w o of its most important special features were the singing of the longest tract in the repertory, Deus Deus mens, with as many as fourteen verses (from Ps. 21), and the intoning of the Passion, that is the gospel account of Christ's betrayal and death, on this day f r o m Matthew 26 and 27. T h e Passion was intoned from M a r k ' s G o s p e l on T u e s d a y , f r o m L u k e on Wednesday, and f r o m John at the Mass of the Presanctified on G o o d F r i d a y , in each case to a tone different from that usual for gospel lessons.

(iii) Maundy On this day

Thursday C h r i s t ate the Last Supper with his disciples, and instituted novum, the

Eucharist. H e washed the feet of the disciples, and the words of the first antiphon sung d u r i n g the medieval repetition of this ceremony, Man datum name to the day itself. T h e N i g h t Office and L a u d s on this and the next two days acquired the name of Tenebrae (literally 'shadows') because of the custom of extinguishing the lights d u r i n g the two services. T h e N i g h t Office would begin with only one set of fifteen candles before the altar. A candle was extinguished after each of the psalms, until the Benedictus of L a u d s was reached, after which the one remaining candle was hidden behind the altar. T h e L i t t l e H o u r s might be said and not sung, without lights. O n these days the N i g h t Office had nocturns of three lessons even in monastic use, gave its

a n d o n H o l y S a t u r d a y o n l y one n o c t u r n ( a l t h o u g h l a t e r i n t h e M i d d l e A g e s t h e r e w a s a tendency to m a k e it a t h r e e - n o c t u r n s e r v i c e . ) The first t h r e e l e s s o n s of t h e N i g h t Jeremiah the however, although O f f i c e (the o n l y t h r e e o n S a t u r d a y ) w e r e t a k e n f r o m t h e L a m e n t a t i o n s of ( t h e y w e r e n o t s u n g to a t o n e o t h e r t h a n t h e b l e s s i n g s f o r t h e r e a d e r m i g h t be o m i t t e d ) . M a s s o n M a u n d y T h u r s d a y , w h i c h took place after N o n e ( n a t i o n a l l y 3 p . m . ) , was e s p e c i a l l y c o m p l i c a t e d b y the c e r e m o n i e s of t h e R e c o n c i l i a t i o n o f P e n i t e n t s a n d t h e B l e s s i n g of t h e H o l y O i l s . T h e f o r m e r p r e c e d e d m a s s , a n d i n v o l v e d the repeated west g e n u f l e c t i o n a n d p r o s t r a t i o n of the p e n i t e n t s as t h e y m a d e t h e i r w a y f r o m t h e a n t i p h o n Venite venite w a s s u n g b e t w e e n e a c h v e r s e of P s . 33: usual one,

d o o r of the c h u r c h i n p r o c e s s i o n . T h e S e v e n P e n t i t e n t i a l P s a l m s w e r e s a i d ; a n d the ' C o m e ye c h i l d r e n , a n d h e a r k e n u n t o m e : I w i l l t e a c h y o u the fear of t h e L o r d . ' T h e s h o r t K y r i e i n v o c a t i o n w a s s u n g d u r i n g t h e s e r i e s of p r a y e r s , v e r s i c l e s , a n d responses. M a s s f o l l o w e d , a n d d u r i n g the G l o r i a i n e x c e l s i s t h e b e l l s m i g h t b e r u n g f o r t h e last t i m e u n t i l E a s t e r E v e . T h e B l e s s i n g of the H o l y O i l s h a d o n e s p e c i a l m u s i c a l i t e m , t h e r e f r a i n h y m n O redemptor sume carnem, to a c c o m p a n y t h e b r i n g i n g o f t h e o i l s f r o m t h e s a c r i s t y to t h e c h o i r , a n d t h e i r r e t u r n a f t e r t h e b l e s s i n g . T h e p o i n t at w h i c h t h i s t o o k p l a c e w a s u s u a l l y j u s t b e f o r e the c o n s e c r a t i o n of t h e h o s t s , n o t o n l y of t h e h o s t f o r t h i s m a s s b u t also t h a t r e q u i r e d f o r the n e x t d a y . T h e o i l s w e r e of a s p e c i a l t y p e k n o w n as t h e c h r i s m , h e n c e t h e n a m e f o r t h i s m a s s of M i s s a C h r i s m a l i s . T h e y w e r e t o b e u s e d f o r t h e a n o i n t i n g o f the b a p t i z e d i n t w o d a y s ' t i m e . T h e h o s t w h i c h w a s to b e ' r e s e r v e d ' f o r f u t u r e u s e w a s c a r r i e d to a s p e c i a l p l a c e e i t h e r b e f o r e t h e e n d of t h i s p a r t of t h e c e r e m o n y o r a f t e r the V e s p e r s s e c t i o n . T h i s t r a n s l a t i o n a n d r e s e r v a t i o n c o u r s e , c h a n t s , s u c h as t h e h y m n Pange lingua. was c a r r i e d o u t w i t h c o n s i d e r a b l e s o l e m n i t y , w i t h a p r o p e r l y f o r m e d p r o c e s s i o n , a n d , of T h e host m i g h t actually be b u r i e d i n a s e p u l c h r e , t h u s a n t i c i p a t i n g the b u r i a l of C h r i s t h i m s e l f ; a m o r e s o l e m n b u r i a l , o r d e p o s i t i o n , w o u l d take place o n G o o d F r i d a y . A s s o o n as t h e c o m m u n i o n c h a n t w a s o v e r , V e s p e r s b e g a n , w i t h o u t e v e n t h e in adiutorium versicle a n d response. Deus V e s p e r s c o n s i s t e d o n l y of five p s a l m s a n d t h e

M a g n i f i c a t c a n t i c l e , a l l w i t h a n t i p h o n s . T h e p o s t c o m m u n i o n p r a y e r f o r t h e e n d of m a s s w a s p o s t p o n e d u n t i l after t h i s r e d u c e d V e s p e r s , w i t h Ite m i s s a est t o c o n c l u d e . C o m p l i n e w o u l d f o l l o w l a t e r , b u t first the a l t a r s of t h e c h u r c h w o u l d be s t r i p p e d and washed w i t h holy water (which w o u l d first be blessed), the w h o l e procedure borrowed a c c o m p a n i e d b y s o m e s e q u e n c e of p s a l m s w i t h a n t i p h o n s , r e s p o n s o r i e s f r o m the N i g h t O f f i c e , or other ceremonial a n t i p h o n s , a n d prayers. E i t h e r n o w , as a s e p a r a t e c e r e m o n y , o r o c c a s i o n a l l y at s o m e p o i n t i n t h e m a s s ( s u c h as a f t e r t h e g o s p e l ) , t h e c e r e m o n y of the f o o t - w a s h i n g , ' p e d i l a v i u m ' o r ' M a n d a t u m ' , w a s p e r f o r m e d . It m i g h t b e p e r f o r m e d at a n y c o n v e n i e n t s p o t , i n c h u r c h o r p e r h a p s i n t h e c h a p t e r - h o u s e . U s u a l l y t w e l v e c h o s e n m e n ( t h e n u m b e r of d i s c i p l e s ) h a d t h e i r feet washed b y the officiating priest. T h e c e r e m o n y m i g h t be p r e c e d e d b y the relevant with g o s p e l r e a d i n g , p e r h a p s e v e n a s e r m o n , a n d it w a s f o l l o w e d b y p r a y e r s a n d v e r s i c l e s . D u r i n g t h e a c t i o n o f w a s h i n g a series of c e r e m o n i a l a n t i p h o n s w a s s u n g , s o m e i n t o n e d p s a l m v e r s e s . T h e first i n the series was Mandatum novum do vobis, b u t the

choice thereafter varied widely. ( A n antiphon f o u n d in some uses, Venit adPetrum, occasionally provided with a long melisma on the word caput.

is

In S a r u m use the to

antiphon is last in the series, and the S a r u m version of the melisma is famous as the cantus firmus of a polyphonic setting of the ordinary of mass once attributed Dufay.) After C o m p l i n e a watch might be kept by the reserved sacrament, (iv) Good Friday

T h e N i g h t Office and L a u d s had the same f o r m as on M a u n d y T h u r s d a y , having the character of Tenebrae, and including further readings f r o m the Lamentations. A g a i n as on M a u n d y T h u r s d a y , Mass took place after N o n e , and contained even more special rituals, notably the Adoration of the Cross. A s usual d u r i n g the t r i d u u m , normal ceremonial was largely stripped away, and none of the usual opening i t e m s introit, K y r i e , or G l o r i a w a s sung. T h e service began straightaway with a series of lessons and responsorial chants. T h e order is: lesson, tract, prayer, lesson, tract, Passion (St John). (The tracts are often labelled 'responsory', and thus stand somewhat apart f r o m the rest of the repertory, as do the 'cantica' of H o l y Saturday.)

N i n e solemn collects followed, prayers following a special formula. First the priest, beginning ' O r e m u s et pro . . .' ('Let us pray for . . .'), announced the purpose of the prayer. H e then intoned the single word ' O r e m u s ' , and he or the deacon sang 'Flectamus genua' ('Let us bow the knee'). A l l prayed in silence until the c o m m a n d 'Levate' ('Rise'). T h e A d o r a t i o n (or Veneration) of the Cross now took place. A cross with the image of the crucified Christ, veiled in purple, was brought with processional solemnity from the sacristy or wherever it had been kept. T h e priest uncovered it a little and the antiphon Ecce lignum cruris was sung three times, at successively higher pitches. After a few moments of silent adoration, the cross was completely unveiled, and the principal act of adoration took place. T h i s involved genuflection before the cross and the kissing of the feet of the Saviour on the cross. T h e first two chants sung during this action were refrain chants of a special kind, known as the Improperia (Reproaches) after the character of the text. E a c h main verse had C h r i s t , as it were, saying what he had done for his people (drawing on events in the O l d Testament), and reproaching them with their cruel ingratitude. between two choirs. T h e first had as refrain a group of alternating Greek and L a t i n invocations, 'Agios . . . Sanctus . . .', known as the T r i s a g i o n . A s set out in modern R o m a n missals, the scheme is as follows: two cantors in m i d - c h o i r : Popule choir 1: Agios o choir 2: Sanctus choir 1: Agios Theos Deus ischyros meus . . . V . Quia eduxi te de terra Egypti . . . In both chants, some sort of alternatim scheme was used for the performance, either between soloist and choir or

c h o i r 2 : Sanctus c h o i r 1 : Agios c h o i r 2 : Sanctus

fortis eleison imas nobis te per desertum . . . . . . (etc. as b e f o r e ) debui facere tibi . . . meus . . . (etc. as b e f o r e ) eduxi ultra immortalis miserere

athanatos

t w o s o l o i s t s f r o m c h o i r 2 : Quia c h o i r s 1 a n d 2 : Agios c h o i r s 1 a n d 2 : Agios t w o s o l o i s t s f r o m c h o i r 1 : Quid

. . . Sanctus . . . Sanctus

T h e s e c o n d of t h e I m p r o p e r i a h a d a s i m p l e r r e f r a i n , n a m e l y t h e r e s p o n d Popule

( w i t h o u t v e r s e ) of t h e first c h a n t . T h i s w a s s u n g i n a n s w e r t o e a c h of a l o n g s e r i e s of v e r s e s b e g i n n i n g ' E g o . . .', c h a n t e d to a s i m p l e t o n e b y c a n t o r s f r o m e i t h e r s i d e of t h e choir in t u r n : cantors of c h o i r 1: V I f u l l : Popule f u l l : Popule a n d so o n T h e a n t i p h o n Crucem misereatur Pange Crux Crux V 2 De Crux V 3 Hoc nostri. lingua fidelis fidelis fidelis opus gloriosi, tuam adoramus was then sung, w i t h s i m p l y intoned vtrstDeus fidelis V. T h e final c h a n t of t h e g r o u p w a s the r e f r a i n h y m n Crux verses: meus meus . . . V2 . . . cantors of c h o i r 2 :

w h e r e t h e r e f r a i n is d i v i d e d i n t o t w o , a n d e a c h p a r t i n t u r n

p e r f o r m e d b e t w e e n the V I Pange lingua (first

(complete) part) part)

parentis (second

a n d so o n M a s s n o w b e g a n , s o m e t i m e s w i t h a p r o c e s s i o n to b r i n g the p r e s a n c t i f i e d h o s t f r o m w h e r e it h a d b e e n k e p t , w i t h a c c o m p a n y i n g a n t i p h o n s s u c h as Salvator nos. difference of the Blessed S a c r a m e n t , mundi salva T h e p r a y e r s f o r t h e e u c h a r i s t w e r e c h a n g e d f r o m t h o s e of o t h e r d a y s to reflect t h e a n d the ritual was said rather t h a n s u n g , except to

f o r t h e c h a n t i n g of a p p r o p r i a t e r e s p o n s o r i e s o r a n t i p h o n s f r o m t h e o f f i c e of t h e d a y . T h e s a m e m i g h t be u s e d f o r a s o l e m n p r o c e s s i o n to r e t u r n t h e B l e s s e d S a c r a m e n t tabernacle o r ' s e p u l c h r e ' . M a n y l o c a l v e r s i o n s of t h e c e r e m o n y o f b u r y i n g t h e the s a c r i s t y o r o t h e r p l a c e w h e r e it w a s k e p t , o r e v e n t o ' b u r y ' it a g a i n i n a s p e c i a l host 1933, Easter and/or a c r o s s (the ' D e p o s i t i a e h o s t i a e / c r u c i s ' ) are k n o w n ( d e s c r i b e d i n Y o u n g chs. I V - V ) , together w i t h their e x h u m a t i o n before the N i g h t O f f i c e early o n morning. A l l lights were extinguished. Vespers was omitted. T h e r e remained only C o m p l i n e to s i n g .

(v) Holy

Saturday

or Easter

Eve the

A t the N i g h t O f f i c e , w h i c h f o l l o w e d the secular c u r s u s even i n m o n a s t i c use,

L a m e n t a t i o n s once m o r e p r o v i d e d the lessons. N i g h t O f f i c e a n d L a u d s together again f o r m e d the T e n e b r a e services. T h e L i t t l e H o u r s and V e s p e r s were s u n g i n their t u r n , b u t t h e w h o l e f o c u s of t h e d a y was t o w a r d s its e n d , a n d t h e m o m e n t o u s c e r e m o n i e s o f t h e B l e s s i n g o f t h e N e w F i r e , t h e s a c r a m e n t of B a p t i s m , a n d t h e M a s s of t h e P a s c h a l V i g i l , u s u a l l y t i m e d so as to start at m i d n i g h t . The l i g h t i n g of the Paschal Candle, s y m b o l i z i n g the light of Christ, was s u r r o u n d e d b y c o m p l e x a n d s o l e m n r i t u a l , i n v o l v i n g t h e s t r i k i n g of fire f r o m a f l i n t , t h e p l a c i n g of five g r a i n s i n t h e c a n d l e , t h e l i g h t i n g of t h e c a n d l e a n d , f r o m i t , a l l t h e others h e l d b y those present. E a c h action was a c c o m p a n i e d by s p r i n k l i n g s a n d c e n s i n g where necessary, solemn a n d , as t h e P a s c h a l C a n d l e w a s l i t a n d s h o w n to t h e p e o p l e , times at s u c c e s s i v e l y rutili the i n t o n a t i o n ' L u m e n C h r i s t i ' was s u n g three higher

p i t c h e s , a n d a n s w e r e d ' D e o g r a t i a s ' . I n s o m e uses a p r o c e s s i o n w o u l d b e m a d e w i t h t h e c a n d l e , c a l l i n g f o r a c h a n t s u c h as t h e r e f r a i n h y m n Inventor books. T h e c h i e f g l o r y of t h e c e r e m o n y w a s t h e E x u l t e t c h a n t , w h i c h n o w f o l l o w e d , so c a l l e d f r o m its first w o r d s , ' E x u l t e t i a m a n g e l i c a t u r b a c e l o r u m ' , a n d a l s o k n o w n as t h e Praeconium paschale ( P r o c l a m a t i o n of E a s t e r ) o r Benedictio cerei ( B l e s s i n g of t h e C a n d l e ) . Its t e x t b e a r s s o m e r e s e m b l a n c e to a p r e f a c e at m a s s , w h i l e m u s i c a l l y it is a n i m m e n s e l y l o n g a n d elaborate i n t o n a t i o n , u s i n g several different f o r m u l a s . A s h o r t f o r m of m a s s e n s u e d , s t a r t i n g n o t w i t h t h e o p e n i n g c h a n t s a n d p r a y e r s b u t s t r a i g h t a w a y w i t h l e s s o n s ( p e r h a p s as m a n y as t w e l v e ) a n d r e s p o n s o r i a l c h a n t s . n u m b e r t h e y d i f f e r e d f r o m o n e use to a n o t h e r , but the sequence: In lessonsilent found in Sarum

p r a y e r c o l l e c t l e s s o n , a n d so o n , w i t h a t r a c t ( s o m e t i m e s c a l l e d h e r e a c a n t i c l e ) r e p l a c i n g a l e s s o n at i n t e r v a l s , s e e m s g e n e r a l l y to h a v e b e e n f o l l o w e d . A t t e n t i o n t h e n t u r n e d to t h e f o n t , w h e r e b a p t i s m w a s t o take p l a c e . T h e p r o c e s s i o n t h e r e a n d b a c k was u s u a l l y a c c o m p a n i e d w i t h t h e c h a n t i n g of l i t a n i e s , o r a c a n t i c l e , o r a r e f r a i n h y m n s u c h as Rex procession. A n elaborate the descent sung. T h e sacrament of b a p t i s m , w i t h its s o l e m n q u e s t i o n s a n d p r o m i s e s , r e q u i r e d n o m u s i c a l s u p p o r t . T h o s e b a p t i z e d , s o m e t i m e s r e f e r r e d t o h e n c e f o r t h as ' n e o p h y t e s ' , w e r e n o w r e a d y to r e c e i v e t h e i r first c o m m u n i o n . T h e mass w h i c h was t h e n celebrated h a d no introit chant, for priest a n d clergy were a l r e a d y p r e s e n t . T h e K y r i e f o r m e d t h e n a t u r a l c o n c l u s i o n to t h e p r o c e s s i o n a l l i t a n y , t h e G l o r i a w a s s u n g , a n d b e t w e e n t h e l e s s o n s t h e Alleluia quoniam chant or bonus a n d t h e t r a c t (or c a n t i c l e ) Laudate Agnus Dei or c o m m u n i o n chant. Dominum. A s on the V . Confitemini previous days, Domino Vespers T h e r e was no offertory sanctorum angelorum, f o u n d i n S a r u m use f o r t h e r e t u r n r i t u a l of b l e s s i n g t h e w a t e r of b a p t i s m w a s c a r r i e d o u t ,

i n c l u d i n g t h e d i p p i n g of t h e p a s c h a l c a n d l e t h r e e t i m e s i n t o t h e w a t e r , s y m b o l i z i n g of t h e H o l y S p i r i t i n t o i t , a n d t h e m i n g l i n g w i t h it of b a p t i s m a l o i l . A l t h o u g h the p r a y e r of b l e s s i n g w a s t e x t u a l l y l i k e t h e E x u l t e t , n o s p e c i a l c h a n t w a s

9. The

'Feast of Fools'

39 116

intervened before the final formularies of mass, having but a single psalm, Ps. Laudate sung. Dominion, with antiphon Alleluia.

T h e r e was no chapter, h y m n , or versicle,

and after the Magnificat, the postcommunion prayer of mass and Ite missa est were

A short C o m p l i n e , lacking h y m n , chapter, and short responsory, was then sung,

(vi) Easter

Sunday

In the early M i d d l e Ages the N i g h t Office had but one nocturn, monastic use following (or reverting to) the secular form with three psalms and three lessons, with their respective antiphons and responsories. Its last responsory, c o m m o n l y (Cum) transisset Sabbatum V . Et valde mane, Dum frequently introduced the enactment

of the famous Visitatio sepulchri ceremony (discussed in 11.25). T h e r e was sometimes a special ceremony to discover and display a cross and/or host buried on G o o d F r i d a y ( Y o u n g 1933, chs. I V - V ) , which might take place before or after the N i g h t Office. A s for all such ceremonies, chants specially selected or composed were performed, and occasionally they would amount to a regular Visitatio representation. T h e other services of the day proceeded more or less according to their c o m m o n f o r m , although affected in character by the festive and joyful nature of the day.

1.9.

T H E 'FEAST OF FOOLS' A N DR E L A T E D

C U S T O M S 1944;

C h e v a l i e r 1894; C h a m b e r s 1903; V i l l e t a r d 1907; Wagner 1931; W h i t e h i l l et al A r l t 1970; H o h l e r 1972; A r l t 1978.

A t this point I interrupt the generalized account of liturgical usages in order to describe some customs which, in contrast to those so far treated, were by no means universally practised. Their outstanding musical importance necessitates this excursus. T h e customs are those associated with the so-called 'Feast of Fools'. W h i l e the most important part of the year from the church's point of view is undoubtedly Easter, in the later M i d d l e Ages the liturgy of the Christmas season was often enlivened by practices which are of special musical interest. Because of the licence involved, such a festal liturgy was often known as a 'Feast of Fools'. It was most often performed on N e w Year's D a y , the Feast of C i r c u m c i s i o n . W h i l e such liturgies are based on the normal services of the daily r o u n d , they are ornamented by numerous extra items, particularly the r h y m i n g L a t i n songs known as conductus or versus. F i v e principal sources for a Feast of Fools liturgy, or something closely comparable, have s u r v i v e d : f r o m Sens, Beauvais, L a o n , Santiago, and L e P u y . T h e official in a medieval cathedral who had charge of matters concerning the performance of the liturgy was usually the precentor (derived from prae + cantor, literally 'foremost singer'), whose responsibilities included the conduct and welfare of

the choir and the management of chant-books. T h e r e was naturally variety from place to place as to the exact delegation of authority in these and other matters (see the survey i n Kathleen E d w a r d s , 1967); and in many institutions the practical rehearsal and execution of music was in the charge of a succentor (from sub 4- cantor). required them. T h e number of leaders (or rectores, most important Within the choir itself, leading singers were detailed to sing solo parts of those chants which 'rulers', as they were sometimes 51 ff. and 104 ff. for useful called) reflected the solemnity of the feast, more soloists (up to four) indicating the rank of feast (see H a r r i s o n 1963, arrangements). information, again about English

O n certain days of the year, however, the normal hierarchy of dignitaries and officials in church might be reversed. O n St Nicholas's D a y (6 D e c e m b e r ) or o n H o l y Innocents' D a y (28 December) some churches might elect a ' B o y B i s h o p ' to preside over the liturgy of the day, and the boy choristers directed the services, detailing others to perform all the duties which boys were accustomed to carry out, such as intoning the first lesson of the Night Office, holding the book for the officiating priest, bearing crosses, censers, and other ceremonial equipment (Chambers 1903, c h . X V ) . A similar transference of authority might take place on other days of the Christmas season, and in some cathedrals (mostly French) it was the custom for the deacons to order the services of St Stephen's D a y (26 D e c e m b e r S t Stephen was a deacon of the early church), priests on St John's D a y (27 D e c e m b e r ) , and the subdeacons on 1 January, the Octave of the Nativity or Feast of the C i r c u m c i s i o n (when Christ was circumcised), known also, because of the extravagant licence with w h i c h the liturgy was performed, as the Feast of Fools, the Feast of the A s s , and so o n . A n o t h e r name was the festum baculi, after the baculum, the rod of office normally held by the precentor but on this day wielded by the subdeacon. F u r t h e r m o r e , one oft-quoted writer of the late twelfth-century, John Beleth (see C h a m b e r s 1903, i . 275; Arlt 1970, Darstellungsband, 40), speaks also of tripudia (literally 'dances') performed by the deacons, priests, choirboys, and subdeacons respectively, o n the four above-mentioned days after Christmas. T h e subdeacons' feast might also be on E p i p h a n y (6 January) or its octave. Apart from the strictures issued by ecclesiastical authorities against it (see Chambers 1903, c h . X I I I ) , we have little other evidence about dancing (and other horseplay) which marked the Feast of Fools, although a Sens precentor's book of the fourteenth century, Sens, Bibliotheque Municipale 6, notates a melisma in a processional responsory for the feast of the Invention of St Stephen (3 A u g u s t St Stephen was the patron saint of Sens cathedral) with the instruction that the precentor shall dance to it (Chailley 1949). T h e r e do survive, however, five principal sources of music for Feast of Fools liturgies, or a representative portion of it, as well as many minor sources. O n e is from Sens, already mentioned, and later Sens tradition ascribed its compilation to Pierre of C o r b e i l , archbishop of Sens. Paris records also attribute to Pierre the version of the C i r c u m c i s i o n liturgy in use in Paris, though no copy of a special festal office has survived from Paris. It is known that the conduct of the feast at the cathedral of Paris (that is, of N o t r e - D a m e ) was reformed i n order to

9. The

'Feast

of Fools'

41

control some of its abuses in the closing years of the twelfth century. It is therefore possible that what we see in the copy of the Sens office, is, as it were, a 'respectable' version of the Feast of F o o l s . T h e Sens copy of a C i r c u m c i s i o n office, Sens, Bibliotheque M u n i c i p a l e 46, dates f r o m the early thirteenth century (ed. Villetard 1907). T h i s is also the date of a similar office from Beauvais, with a somewhat richer provision of special festal material, L o n d o n , British L i b r a r y , Egerton 2615 (ed. A r l t 1970the manuscript also contains the famous Play of D a n i e l , probably for performance on the same day, and has been b o u n d with some polyphonic compositions; some of these were for performance d u r i n g the C i r c u m c i s i o n liturgy; some of them were composed in Paris). Between t h e m , these two sources may indicate something of the (lost) Parisian C i r c u m c i s i o n liturgy. A late twelfth-century source f r o m L a o n cathedral, p e r i o d , concentrating especially on the feast of the E p i p h a n y . O u t s i d e N o r t h France the sources are sparser. T h i s is not to say that manuscripts containing music typical of the Feast of Fools are l a c k i n g s u c h songs may be f o u n d in considerable quantities i n , for example, the N o r m a n - S i c i l i a n tropers Biblioteca Nacional 288, Paris, 289, Bibliotheque Nationale, lat. 1139, 3549, and 3719; and the Madrid, and 19421; the Aquitanian tropers and song-books song-books L a o n , Bibliotheque M u n i c i p a l e 263, contains m u c h similar material rubricated for feasts of the Christmas

C a m b r i d g e , University L i b r a r y F f . i . 17 (English?) and L o n d o n , British L i b r a r y , A d d . 36881; all these are twelfth-century sources. But none of them sets out the material in systematic liturgical order or indicates the succession of items which will make up the complete festal liturgy. T h i s occurs, outside N o r t h France, only in the well-known 'Jacobus' or ' C o d e x Calixtinus' of Santiago de Compostela (twelfth century; for St James D a y , 25 J u l y ; ed. Wagner 1931, and Whitehill et al. 1944; see also H o h l e r 1972), and the C i r c u m c i s i o n office of L e Puy (late medieval copies and supplements of an original going back, like the material in the other sources, to the twelfth century; text ed. Chevalier 1894; see also Arlt 1978). A l l these sources contain chants and other material for the secular cursus of the office. T h e most important characteristic they share is the inclusion of conductus or versus, L a t i n songs, at various points in the services, either as replacements for a regular liturgical form or, more frequently, as extra festal items. T r o p e d and farsed items are abundant, sequences replace hymns on several occasions. A m o n g many services worthy of fuller description, the E p i p h a n y completorium infinitum (endless C o m p l i n e ) of L a o n should be mentioned, where, after a particularly lavish provision of conductus, the direction is given to conclude the office: 'tot Benedicamus quot novit quisque canamus' ('Let us sing all the Benedicamus [songs] we know') (see A r l t 1970, Darstellungsband, 220 f f . ; also Steiner, 'Compline', NG). P o l y p h o n y is occasionally rubricked in the Beauvais office (the manuscript is now b o u n d together with some p o l y p h o n y ) , and appears in supplements to 'Jacobus' and the L e P u y office. A s an indication of the way in which special material was grafted on to the normal liturgy, T a b l e 1.9.1. sets out the course of the last service of the Beauvais office,

Second Vespers (Arlt 1970,

E d i t i o n s b a n d , 139 ff). O n the left are placed the regular

liturgical forms, on the right the songs, tropes, and so o n . Despite the licence which undoubtedly marked the celebration of the Feast of Fools, these offices do not, in their sober manifestation on medieval parchment or in modern edition, seem u n d u l y disorderly. T o those, however, who were accustomed to the regular u n f o l d i n g of the liturgy, day by day and week by week, such efflorescences of markedly u n - G r e g o r i a n chant (their style is discussed 11.24) could not fail to have made a vivid, even disconcerting impression. Perhaps the if we try to imagine episcopal Bayeux correspondingly exotic irregularity in the ceremonial action and the visual presentation of the liturgy, we may be better able to appreciate ordinal Bayeux, A r l t 1970, sollemnis 48; reasons for the displeasure evidently aroused f r o m time to time. W h e n the thirteenth-century

Bibliotheque M u n i c i p a l e 121 says that the four special Christmas 1978, 7) the term used, 'as solemnly as they [the clergy] are able', adjective and

feasts are to be celebrated ' q u a m sollennius possunt' (ed. Chevalier 1902, 65, cited by should not be interpreted in the modern sense as 'serious, sober'. T h e feast-days,

is conventional in ordinals as an indication of the character of the liturgies of and should rather convey the idea of ritual splendour, richness,

variety; a n d , o n the Feast of F o o l s , outbursts of extravagant and exotic music as well.

1.10.

O T H E R

SERVICES:

BAPTISM,

C O N F I R M A T I O N , BURIAL,

O R D I N A T I O N ,

C O R O N A T I O N ,

M A R R I A G E ,

D E D I C A T I O N T h e account of the liturgy given in the preceding chapters has concerned itself with the regular cycle of services as performed day by day and year by year, with some added information about the special forms those services might take on certain days of unusual significance. T h e present chapter contains a few brief remarks on ceremonies of a different character, largely independent of the normal liturgical cycle, performed to sanctify a special occasion concerning a person, a church, or an ecclesiastical object of some sort. M a n y of them are episcopal functions: that is, the services are carried out by a b i s h o p , and the prayers and chants sung are mostly found in the pontifical, the bishop's service-book. N o t all these services require the performance of music as an essential element. T h e role of plainchant varies according to how m u c h ceremonial action is i n v o l v e d ; where a procession of some sort takes place, as in the service for the dedication of a c h u r c h , then it is not surprising to find a large provision of ceremonial antiphons. Some of the most important of all Christian rites, however, have little musical support. A m o n g those to be mentioned here are the services marking the sacraments. A sacrament was defined by T h o m a s A q u i n a s as 'the sign of a sacred thing in so far as it sanctifies men', and there are usually said to be seven: the eucharist, baptism, confirmation, penance, ordination, matrimony, and extreme unction (the anointing of

Arlt No.

Regular item

Replacement item

Addition

Verse Lux hodie Conductus 'when the ass is brought along', O/ientis partibus Versicle Deus in adiutoriuni ['Alleluia' acclamation after 'Amen'] Alleluia \ eni sancte spin tits, 'or \ enidoctorprevie organum'* verse sung behind the altar, Mac est clara dies verse sung before the altar, Salve festa dies prose sung by full choir, I A" ten at rgaudiis verse Chistus manens 'in the pulpit with organum'* A . Ecce annuntio vobis Ps. Dixit dominus ('all antiphons are to be started with "falseto"') A . I Iodic in t acta virgo Ps. Confitebor A . Virgo i erbo concepit
y

with

Ps. Beatus vir

12 13 14

A . Virgo hodiefidelis Ps. De profit ndis A. Nesciensmater Ps. Memento Chapter Popitlus gentium R. (\jnfi una turn est cor virginis (no V . given) 'in the pulpit with organum'*, with supplementary trope verses, one series set out as a prosula performed alternatim texted by leaders and melismatically by choir

15

16 17 18 19

[hymn]

sequence I^etabundus exultet fidelis chorus verse Ave virgo speciosa

A . Guide terra Magnificat [Benedicamus versicle] verse Corde pat ris gemins . . . Benedicamus domino, Superomnes alias ... referamus gratias

*organurn present in another part of manuscript.

the s i c k ) . T h e e u c h a r i s t has of c o u r s e b e e n the s u b j e c t of e x t e n d e d d i s c u s s i o n a b o v e . T h e b a p t i s m a l r i t e i n i t s a n c i e n t p l a c e d u r i n g the m a s s of E a s t e r E v e h a s also b e e n d e s c r i b e d b r i e f l y , a n d it w a s s t a t e d t h a t p r o c e s s i o n a l m u s i c w a s s u n g d u r i n g progress to the font a n d o n the r e t u r n . A s i m i l a r c e r e m o n y took place w h e n the the

b a p t i s m w a s h e l d o n o t h e r d a y s . It w a s o n e that h a d g r o w n o u t of t h e e a r l y p r a c t i c e of a d u l t b a p t i s m , whereas infant b a p t i s m was m u c h m o r e c o m m o n i n the M i d d l e A g e s , as n o w . T h e r i t u a l s u r r o u n d i n g t h i s w a s c o n s i d e r a b l y s h o r t e r . C o n f i r m a t i o n w a s i n m a n y r e s p e c t s t h e s a m e as b a p t i s m i n its r i t u a l r e q u i r e m e n t s , a n d i n g e n e r a l t o o k p l a c e a l o n g s i d e b a p t i s m o n E a s t e r E v e . U n l i k e b a p t i s m , it r e m a i n e d a s e r v i c e w h i c h o n l y a bishop could perform. P u b l i c r i t e s of p e n a n c e c o n s i s t e d l a r g e l y of f o r m u l a s a n d p r a y e r s p r o n o u n c e d b y t h e bishop, w i t h a c c o m p a n y i n g actions. They centred u p o n the ceremony when the penance was laid u p o n those w h o h a d confessed their sins, o n A s h W e d n e s d a y , and the c o m p l e m e n t a r y r i t e w h e n t h e p e n i t e n t s w e r e r e c o n c i l e d o n M a u n d y T h u r s d a y . D u r i n g L e n t i n t e r c e s s i o n s f o r t h e p e n i t e n t s w e r e s a i d , a n d it is p o s s i b l e t h a t the t r a c t Domine non secundum V . Domine ne memineris V . Adiuva nos Deus, s u n g first o n A s h W e d n e s d a y a n d t h e n o n e a c h M o n d a y , W e d n e s d a y , a n d F r i d a y d u r i n g L e n t , is a r e l i c of s u c h p r a y e r s . T h e o r d i n a t i o n r i t e s of t h e c h u r c h w h e r e b y a c a n d i d a t e is a d m i t t e d t o o n e of t h e s o - c a l l e d ' m a j o r ' o r d e r s of b i s h o p , p r i e s t , d e a c o n , o r s u b d e a c o n , o r o n e o f the ' m i n o r ' o r d e r s of a c o l y t e , e x o r c i s t , r e a d e r , o r d o o r - k e e p e r , o r t o the m o n a s t i c largely matters w o u l d be full of p r a y e r s , exorcisms, and other b i s h o p , a n d c h a n t s t o c o v e r a n a c t i o n are r a r e l y n e c e s s a r y . accompanied prayer, by the professionare the more office intoned forms delivered by

T h e t o n s u r i n g of c l e r g y

s i n g i n g of a p s a l m w i t h its a n t i p h o n . T h e interrogations, blessings of the b a d g e s of

i m p o r t a n t the r a n k b e i n g c o n f e r r e d , the m o r e elaborate the c e r e m o n y , w i t h p e r h a p s a preface a s e r i e s of ( b i s h o p ' s r i n g a n d s t a f f ) , a n d so o n . Since kings ruled by divine right, their coronation was a full-scale liturgical manus Salomonem feature of a ceremony, tua) w i t h c o n s i d e r a b l y m o r e o p p o r t u n i t y for r i t u a l a c t i o n , a n d hence m u s i c ,

t h a n m o s t s p e c i a l c e r e m o n i e s o f t h i s t y p e . P r o c e s s i o n a l a n t i p h o n s (Firinetur anointing with Sadoch sacerdos) oil w o u l d have their ceremonial antiphon (Unxerunt

a n d l i t a n i e s w o u l d a c c o m p a n y t h e e n t r a n c e of the m o n a r c h , m o m e n t s s u c h as t h e a n d t h e s i n g i n g of the T e D e u m was a constant

c e r e m o n y w h i c h n a t u r a l l y t o o k s e v e r a l f o r m s at d i v e r s e t i m e s a n d p l a c e s . I n contrast t o t h e m a r r i a g e s e r v i c e , w h i c h i n its n o r m a l f o r m has n o c l a i m s to T h e M a s s f o r the D e a d , p o p u l a r l y k n o w n as t h e Requiem a t t e n t i o n as f a r as p l a i n c h a n t is c o n c e r n e d , the c e r e m o n i a l s u r r o u n d i n g a f u n e r a l is impressively elaborate. a f t e r t h e o p e n i n g w o r d s of its i n t r o i t , w a s s o m e t h i n g w h i c h m i g h t b e s u n g , o r at least s a i d , at a n y t i m e o f t h e y e a r as a v o t i v e c o m m e m o r a t i o n . A n d i n the l a t e r M i d d l e A g e s t h e p e r f o r m a n c e of a c o m p l e t e O f f i c e f o r the D e a d w a s also n o t u n c o m m o n , e s p e c i a l l y i n m o n a s t i c h o u s e s . T h e a c t u a l o c c a s i o n of a p e r s o n ' s d e a t h a n d b u r i a l m i g h t a l s o c a l l f o r t h e p e r f o r m a n c e of t h e s e s e r v i c e s . B e f o r e that, h o w e v e r , t h e r e w o u l d h a v e b e e n a p r o c e s s i o n to b r i n g t h e c o r p s e to t h e c h u r c h f o r the final e x e q u i e s , a c c o m p a n i e d b y

t h e s i n g i n g o f p e n i t e n t i a l p s a l m s w i t h a p p r o p r i a t e a n t i p h o n s a n d t h e a d d i t i o n of t h e v e r s i c l e Requiem Dei V . Suscipiat eternam. O n e n t e r i n g the c h u r c h t h e r e s p o n s o r y Subvenite eternam was s u n g . begins prayers In w i t h several verses. Versicles and sancti te V . Requiem

A f t e r m a s s ( a n d a n y p r e c e d i n g s e r v i c e s of t h e d a y ) t h e a b s o l u t i o n c e r e m o n y w i t h t h e r e s p o n s o r y Libera paradisum me Domine,

t h e n l e a d to t h e p r o c e s s i o n to the g r a v e , d u r i n g w h i c h t h e c e r e m o n i a l a n t i p h o n

is s u n g , w i t h p s a l m s as n e c e s s a r y . T h e g r a v e i t s e l f m a y b e b l e s s e d , a n d it sum resurrectio, is the last i m p o r t a n t m u s i c a l i t e m , f o r t h e rest of t h e

a n d t h e b o d y are s p r i n k l e d w i t h h o l y w a t e r a n d c e n s e d . T h e B e n e d i c t u s c a n t i c l e , w i t h a n t i p h o n Ego v e r s i c l e s a n d p r a y e r s , a n d p s a l m s f o r the r e t u r n to t h e c h u r c h , are m o s t l y s a i d . F i n a l l y , p e r h a p s t h e m o s t e x t e n d e d use of c e r e m o n i a l a n t i p h o n s is t o b e f o u n d i n the ceremony for the d e d i c a t i o n or consecration of a church, with its several The p e r a m b u l a t i o n s a n d b l e s s i n g s , c u l m i n a t i n g , l i k e s e v e r a l of t h e s e s p e c i a l s e r v i c e s , i n m a s s . A g a i n , s e v e r a l f o r m s w e r e k n o w n , b u t t h e f o l l o w i n g are t h e u s u a l f e a t u r e s . c l e r g y a s s e m b l e to t h e s i n g i n g of p s a l m s a n d v e r s i c l e s , festinans descende) and an antiphon est terra (Zachee

is s u n g at the e n t r a n c e t o t h e c h u r c h . A l l t h e n w a l k r o u n d t h e is a l s o s u n g , po?'tas, and this a n d the other final verses p r o v i d e

c h u r c h t h r e e t i m e s , s i n g i n g t h e m a j o r l i t a n y . P s a l m 23 Domini w i t h v e r s e 7 as its a n t i p h o n Tollite

t h e t e x t f o r t h e e n t r a n c e r i t u a l . T h e b i s h o p k n o c k s o n t h e d o o r of t h e c h u r c h , a n d s i n g s ' L i f t u p y o u r h e a d s O ye gates a n d be y e l i f t u p ye e v e r l a s t i n g d o o r s : a n d t h e k i n g o f g l o r y s h a l l c o m e i n ! ' F r o m i n s i d e c o m e s t h e q u e s t i o n : ' W h o is t h e k i n g of g l o r y ? ' T h e b i s h o p w a l k s r o u n d the c h u r c h a g a i n , a n d t h e s a m e s e q u e n c e is r e p e a t e d . A f t e r a t h i r d p e r a m b u l a t i o n b i s h o p and clergy finally s i n g the a n s w e r : ' E v e n the L o r d of h o s t s , he is t h e k i n g of g l o r y . ' A l i t a n y m a y a c c o m p a n y t h e a p p r o a c h to t h e a l t a r , a n d t h e n t h e b i s h o p t r a c e s w i t h h i s staff the l e t t e r s of t h e G r e e k a n d L a t i n The s a n c t i f y i n g of t h e b u i l d i n g requires various substancessalt, alphabets 10). water, a c r o s s t h e c o r n e r s of t h e c h u r c h , to the s i n g i n g of c e r e m o n i a l a n t i p h o n s (see P l a t e ashes,

h y s s o p a n d their e x o r c i z i n g , blessing, and s p r i n k l i n g or other a d m i n i s t r a t i o n , i n v a r i o u s p a r t s o f t h e c h u r c h , w h i c h also c a l l s f o r t h e s i n g i n g of a n t i p h o n s , o r c o m p l e t e p s a l m s w i t h a n t i p h o n . T h e c h u r c h w i l l h a v e h o l y r e l i c s of its p a t r o n a l s a i n t , a n d t h e i r i n s t a l l a t i o n i n t h e h i g h a l t a r , o r w h e r e v e r t h e y are t o r e s i d e , r e q u i r e s f u r t h e r c e n s i n g a n d o t h e r a c t i o n s , p r a y e r s , a n d c h a n t s . W h e n t h e c e r e m o n y is c o m p l e t e , t h e m a s s f o r the d e d i c a t i o n , b e g i n n i n g w i t h i n t r o i t Terribilis est locus iste, is c e l e b r a t e d . T h i s m a s s w i l l be s u n g each year o n the same d a y , together w i t h a f u l l office.

Chant Genres
II.1. I N T R O D U C T I O N

I n t h i s c h a p t e r I d e s c r i b e the c h i e f g e n r e s , f o r m s a n d s t y l e s , of c h a n t i n the R o m a n liturgy. The m a i n g e n r e s are a r r a n g e d a c c o r d i n g t o t h e i r m u s i c a l t y p e . I s t a r t w i t h the s i m p l e r e c i t a t i o n f o r m u l a s f o r p r a y e r s a n d l e s s o n s ( 1 1 . 2 ) , a n d t h e n g o o n to p s a l m tones a n d the m o r e elaborate recitations for i n v i t a t o r y a n d r e s p o n s o r y verses (11.3). A f t e r that I discuss the m u c h m o r e c o m p l e x chants w h i c h retain e l e m e n t s of r e c i t a t i o n patterns sections by m a r k i n g syntactical units w i t h typical melodic gestures: are about chants which generally use free-ranging melodies responsories, of v a r y i n g processional g r a d u a l s , a n d t r a c t s ( I I . 4 - 5 ) . S h o r t r e s p o n s o r i e s are t h e n c o n s i d e r e d ( I I . 6 ) . T h e n e x t c o m p l e x i t y : first office a n t i p h o n s ( I I . 7 ) , a n d t h e n i n v i t a t o r y a n t i p h o n s ,

antiphons, M a r i a n antiphons, and other special types ( I I . 8 - 1 0 ) . A f t e r that I consider t h e ' a n t i p h o n s ' of m a s s : i n t r o i t s a n d c o m m u n i o n s ( 1 1 . 1 1 - 1 2 ) a n d o f f e r t o r i e s ( 1 1 . 1 3 ) . A l l e l u i a s f o l l o w i n 11.14, t h e n t h e r e is a s w i t c h to q u i t e d i f f e r e n t g e n r e s , (11.15) a n d chants f o r t h e o r d i n a r y of m a s s ( 1 1 . 1 6 - 2 1 ) . T h e next sections hymns treat

v a r i o u s later m e d i e v a l c h a n t s : s e q u e n c e s ( 1 1 . 2 2 ) , t h e m u l t i t u d e of d i f f e r e n t t y p e s of t r o p e ( 1 1 . 2 3 ) , a n d l i t u r g i c a l L a t i n s o n g s of v a r i o u s k i n d s , o f t e n w i t h t e x t s i n v e r s e (11.24). So-called liturgical dramas (11.25) a n d offices with verse texts (11.26) c o n c l u d e the c h a p t e r , a f t e r w h i c h I h a v e a p p e n d e d an e x c u r s u s a b o u t s o m e l i t e r a r y a s p e c t s of p o e t i c t e x t s ( 1 1 . 2 7 ) , i n t e n d e d to b e of a s s i s t a n c e to t h e non-specialist.

D e s c r i b i n g t h e m u s i c a l m a k e - u p of m e d i e v a l c h a n t s i n v o l v e s c o n s i d e r a t i o n of m a n y f e a t u r e s , n o t a l l of w h i c h c a n be g i v e n t h e i r d u e i n the s p a c e a v a i l a b l e h e r e . S o m e o f t h e m o s t d i s c u s s e d h e r e t o f o r e relate to f o r m , i n t h e sense of t h e l a y o u t of a m e l o d y : repeat structures, recitation patterns s u c h as t h o s e of o f f i c e p s a l m o d y w h i c h can s o m e t i m e s be f o u n d i n o t h e r c h a n t s , d e p l o y m e n t of s t a n d a r d m u s i c a l p h r a s e s f o r t h e d e l i v e r y of v a r y i n g t e x t s . T h e f u n c t i o n of c h a n t as text d e c l a m a t i o n is f u n d a m e n t a l l y i m p o r t a n t , a n d has also o f t e n b e e n t r e a t e d , t h o u g h the ' g r o u n d r u l e s ' f o r a l l g e n r e s of c h a n t h a v e n o t yet b e e n d e f i n e d . ( A p p r o a c h e s of these t y p e s m a y b e f o u n d i n , f o r e x a m p l e , J o h n e r 1953, J a m m e r s 1965, ' C h o r a l ' . ) A l t h o u g h the m o d a l i t y of c h a n t s has also b e e n m u c h d i s c u s s e d , s o m e of t h e i r t o n a l aspects are less w e l l u n d e r s t o o d : f o r example, the i d e n t i t y a n d r o l e of s t r u c t u r a l l y i m p o r t a n t a n d less i m p o r t a n t notes

(which may not necessarily be directly related to the final). N o w a c k i (1977) has recently suggested ways of coping with questions of underlying structure and its embellishment. I have also found useful the distinctions employed by H a n s e n (1979) i n what is to date the only comprehensive attempt at a tonal analysis of the complete repertory of proper of mass chants (as recorded in Montpellier H . 159). H a n s e n regards as 'secondary' those notes only approached and quitted by step, whereas 'main tones' are those approached and quitted b y a leap. (Hansen employs supplementary criteria as well.) O n this basis most of the chants can be divided into pentatonic or predominantly pentatonic melodies, and melodies where interlocking chains of thirds are structurally important. T h e s e distinctions override classifications according to liturgical function, mode, final, ambitus, and so on, so that chants of different genres and mode m a y have the same (pentatonic analyses have or tertian) tonal backbone. been carried out, o n very (Other promising computer-assisted different

repertories, by H a l p e r i n 1986 and B i n f o r d - W a l s h 1990.) It is nevertheless safe to say that the musical analysis of plainchant is i n many respects still at a preliminary stage. In what follows different examples are therefore discussed i n different ways, emphasizing now one possible approach, now another.

11.2.

R E C I T A T I O N

F O R M U L A S FOR PRAYERS A N D LESSONS

(i) G e n e r a l (ii) Prayers (iii) L e s s o n s L e o n R o b e r t 1963; H u g l o , 'Epistle', ' E x u l t e t ' , ' G o s p e l ' , ' L i t a n y ' , NG; S t a b l e i n , ' E p i s t e F , ' E v a n g e l i u m ' , 'Exultet', ' L i t a n e i ' , 'Passion', 'Pater noster', ' P r a f a t i o n ' , MGG] Steiner, ' L o r d ' s Prayer', NG.

(i)

General

A great deal of the music performed during office and mass is extremely simple i n character, being for the most part (sometimes entirely) a monotone, with melodic nuances at significant points in the text: usually at the starts and ends of phrases, and particularly at final cadences. E v e n the simplest versicles and responses often illustrate some of the general principles b y w h i c h recitations usually work. F o r the most part the versicle is sung to one repeated note, w h i c h may of course be sung as many times as required by the length of the text. Cadences may be marked by a fall in the voice, or a more elaborate gesture. Occasionally the voice rises from a lower pitch in order to attain the main reciting note, as it is usually called, or 'tenor'. T h i s is what happens at the beginning of the ubiquitous office versicle Dominus vobiscum, quoted i n its S a r u m f o r m i n Then Dominus E x . II.2.1. H e r e there is a double nuance at the cadence. It introduces a collect, sung completely monotone until the simplest of falling final cadences.

48 Ex.

II.

Chant

Genres

I I . 2 . 1 . Versicles and responses ( A S 4 - 5 ; Frere 1 8 9 8 - 1 9 0 1 , p t . I I , 210 a n d lxxvj)

Priest

Dominus uobiscum.

Choir

Et

cum

spiritu

tu-o.

Priest

O-remus.

Excita quesumus ... per

omni-a secula seculorum.

Choir

A-men.

(Priest and Choir 'Dominus' and

'Et

cum'

as above)

Boy

Benedicamus domino.

1
Choir De-o eracias.

vobiscum

a n d its r e s p o n s e are r e p e a t e d , f o l l o w e d b y Benedicamus

Domino

a n d its cadence.

r e s p o n s e : t h e s e take a d i f f e r e n t r e c i t i n g n o t e a n d h a v e a l i g h t l y o r n a m e n t e d and

I n t h e m e l o d i c f o r m u l a s u s e d f o r s i n g i n g p r a y e r s a n d l e s s o n s , a h i e r a r c h y of m a j o r m i n o r d i v i s i o n s i n the text is o f t e n o b s e r v e d , c o r r e s p o n d i n g r o u g h l y to o u r f u l l S o m e t y p e s of c h a n t o n e recitation t h i n k s i m m e d i a t e l y of t h e v e r s e s of t h e and one Even these, however, retain s t o p s , s e m i c o l o n s , a n d so o n . I n t e r r o g a t i v e s e n t e n c e s m a y be s i g n a l l e d w i t h t h e i r o w n special cadence. musically r e s p o n s o r i e s of t h e N i g h t O f f i c e (see I I . 3 ) a r e s u n g to m u c h m o r e e l a b o r a t e sophisticated formulas.

i m p o r t a n t f e a t u r e of r e c i t a t i o n t e c h n i q u e : the l e n g t h of t h e text to b e s u n g is r e f l e c t e d i n t h e n u m b e r of t i m e s the r e c i t i n g n o t e is r e p e a t e d . I n s o m e of the e x a m p l e s d i s c u s s e d b e l o w , it w i l l be n o t i c e d t h a t a n a p p r e c i a t i o n of t h e a c c e n t u a t i o n of p a r t i c u l a r w o r d s is i m p o r t a n t f o r t h e c o r r e c t p e r f o r m a n c e of t h e chant. There w i l l be a d e p a r t u r e f r o m t h e r e c i t i n g n o t e at, say, t h e penultimate a c c e n t e d s y l l a b l e , i n o r d e r to m a r k a p h r a s e - e n d . S o m e t i m e s a c c e n t e d s y l l a b l e s w i l l b e m a r k e d b y a p i t c h h i g h e r t h a n t h a t of the r e c i t i n g n o t e o r b e t t e r , t h e r e is a d o u b l e r e c i t i n g note, the higher note for accented syllables a n d the l o w e r note for u n a c c e n t e d o n e s . T h e r e s e e m s l i t t l e d o u b t t h a t t h e s e r e f i n e m e n t s of d e l i v e r y w e r e n o t u n i v e r s a l l y p r a c t i s e d , a n d t h a t t h e c a d e n t i a l o r o t h e r f o r m u l a w o u l d o f t e n h a v e b e e n s u n g at t h e appropriate moment w i t h o u t respect for text accent. Similarly, most recitation

f o r m u l a s p r o c e e d w i t h o u t h i g h e r pitches for accented syllables. T h u s the m e l o d i c i n f l e x i o n s f o r p h r a s e - e n d s f o r m a s o r t of m u s i c a l p u n c t u a t i o n . T h e y m a r k s y n t a c t i c a l and sense u n i t s , b u t d o n o t n e c e s s a r i l y reflect a n y t h i n g of t h e n a t u r a l rise a n d f a l l o f the h u m a n voice. A l t h o u g h t h e r e is n o d o u b t t h a t t h e p r a c t i c e of r e c i t i n g p r a y e r s a n d l e s s o n s i n t h i s way is a n o l d o n e , m e d i e v a l c o p i e s of r e c i t a t i o n f o r m u l a s are g e n e r a l l y s c a r c e , since t h e y w e r e k n o w n w e l l e n o u g h f o r c o d i f i c a t i o n to have b e e n u n n e c e s s a r y . Furthermore,

most s u r v i v i n g m u s i c - b o o k s were made by and for trained musicians, and recitations of t h i s t y p e w e r e n o t a m o n g t h e i r d u t i e s . O n t h e o t h e r h a n d , m o r e o r n a t e a n d u n u s u a l l e s s o n t o n e s , s u c h as t h o s e f o r t h e g e n e a l o g i e s , found with musical notation. are a m o n g t h e v e r y earliest chants

(ii)

Prayers

T h e m o s t i m p o r t a n t p r a y e r s to be r e c i t e d i n t h e l i t u r g y are t h o s e of m a s s : t h e c o l l e c t , s e c r e t , a n d p o s t c o m m u n i o n p r a y e r s , a n d t h e p r a y e r s of t h e e u c h a r i s t i c r i t e . T h e r i t u a l a c t i o n s , s u c h as s p r i n k l i n g h o l y w a t e r a n d b l e s s i n g s of v a r i o u s k i n d s . T h e usualis liturgical occasions. medieval practice The Preface (There first Liber t h r e e are r e l a t i v e l y b r i e f , a n d m a y b e c l a s s e d w i t h m a n y o t h e r o c c a s i o n a l p r a y e r s f o r g i v e s a n u m b e r of t o n e s , p l a i n o r m o r e v a r i e d to s u i t less o r m o r e i m p o r t a n t is as yet n o c o n v e n i e n t w a y of f i n d i n g o u t h o w v a r i e d was.)

p r a y e r of m a s s (also s u n g , w i t h a d i f f e r e n t t y p e of c o n c l u s i o n , at

s p e c i a l c e r e m o n i e s of c o n s e c r a t i o n of v a r i o u s k i n d s ) is a m u c h l o n g e r i t e m , w h i c h begins w i t h versicles a n d responses before l a u n c h i n g i n t o a l o n g text v a r y i n g w i t h the l i t u r g i c a l o c c a s i o n . M o r e t h a n o n e m e d i e v a l t o n e f o r t h e p r a y e r is k n o w n , b u t t h e o n e g i v e n i n E x . 11.2.2 is t y p i c a l . I n it m o s t c l a u s e s are s u n g to o n e f o r m u l a , f i n a l c l a u s e s to a n o t h e r . A s o f t e n i n s u c h f o r m u l a s , t h e s i n g e r m u s t k n o w w h e r e t h e t w o o n t h e s y l l a b l e a f t e r t h e p e n u l t i m a t e a c c e n t e d s y l l a b l e he q u i t s t h e r e c i t i n g n o t e (c) be m a d e (ab b). final for a c c e n t e d s y l l a b l e s f a l l . F o r t h e n o n - f i n a l c l a u s e s , h e m a k e s h i s i n f l e c t i o n s as f o l l o w s : b \ o n t h e last a c c e n t e d s y l l a b l e he g o e s e v e n l o w e r , so t h a t a s u b - t o n a l e n d i n g o n b c a n F i n a l clauses have a s l i g h t l y m o r e ornate f o r m u l a , d e p e n d i n g o n l y o n w h i c h w i l l settle o n a (aG, Ga b ab a). Practically a). the final a c c e n t e d s y l l a b l e . T h r e e s y l l a b l e s e a r l i e r t h e s i n g e r q u i t s t h e r e c i t i n g n o t e to introduce a t u r n i n g cadence w i t h o u t e x c e p t i o n , e n d s y l l a b l e s i n t h e s e t e x t s w i l l be u n a c c e n t e d . If m o r e t h a n o n e s y l l a b l e f o l l o w s t h e a c c e n t e d o n e , t h e n t h e a m a y s i m p l y b e r e p e a t e d (ab a O n e p r a y e r w h o s e text h a s t h e c h a r a c t e r of a p r e f a c e b u t w h o s e m u s i c is m u c h m o r e e l a b o r a t e is that f o r t h e c o n s e c r a t i o n of t h e P a s c h a l C a n d l e o n E a s t e r E v e , t h e c h a n t k n o w n f r o m its o p e n i n g w o r d as t h e E x u l t e t . It b e g i n s w i t h a s e c t i o n n o t f o u n d i n other prefaces, t h e n come the versicles a n d responses, t h e n t h e m a i n p a r t of the p r a y e r . T h e first s e c t i o n is s u n g to a m e l o d y of f o u r p h r a s e s r e p e a t e d f i v e t i m e s . T h e m a i n part often uses the n o r m a l preface f o r m u l a s , but i n t r o d u c e s far m o r e f r e q u e n t c a d e n c e s , a n d o t h e r m o r e e l a b o r a t e i n f l e c t i o n s . T h e d e g r e e of e l a b o r a t i o n v a r i e s f r o m o n e t r a d i t i o n to a n o t h e r (see Huglo, ' E x u l t e t ' , NG f o r a s u m m a r y of available

Univ-Bibliothekl ) Regensburg \

E x . 11. 2.2. F r o m the Blessing of the F o n t on Easter E v e ( O x f o r d , B o d l . L i b . e M u s . 126, f o . 41 )

r

Per omni-a secula seculorum.

A-men.

Dominus uobiscum.

Et cum spiritu tu-o.

Sursum corda.

Habemus ad dominum.

Gratias a-gamus domino D e - o nostro.

Dignum et iustum

est.

Vere dignum et iustum est

equum et

salutare

nos tibi semper et u-bique gratias a-gere

domine sancte pater omnipotens e-terne Deus

qui inuisibili potenci-a

sacramentorum tu-orum

mirabiliter o-peraris

effectu

(two

more phrases, then)

e-tiam ad nostras preces aures tu-e pi-etatis inclinas.

Deus ... (final clause)

Ut omnis homo hoc sacramentum regeneracionis ingressus in uere innocentie

in nouam infanciam

renascatur.

information

and

b i b l i o g r a p h y ; also

Stablein, 'Exultet',

MGG

for

a survey

of

melodies). T h e start of the chant is given in E x . II.2.3 in two versions, from Paris and Salisbury respectively. A l t h o u g h both sources are from the thirteenth century, and not widely separated geographically, there are considerable differences between their versions. T h e Paris version is overall a fifth lower than the English one, but that is a relatively superficial distinction. M o r e important is the simplicity of the Paris version c o m p a r e d to Salisbury. T h e contrast in elaboration is already apparent in the first part of the m e l o d y , the four-phrase unit which will be repeated several times. T h e n , when the recitation formula is employed in the main section of the prayer, the Salisbury version almost conceals the reciting note(s) under a wealth of melodic detail. T h e Paris version has F as its reciting note, with E for secondary cadences and D for main ones. F o r Salisbury, the possibility of a repeated c (or b) is hardly considered, and freely ranging phrases between G and d are often given. A simple fall cb cbbcb) ab becomes acbbc. becomes T h e assumption here is that the Salisbury version notates

an ornate elaboration of some simple earlier pattern, an elaboration that has been developed i n performance over the years. T h e solemnity of the occasion has resulted in a far higher degree of surface decoration than was normally practicable for such a prayer. T h e prayers mentioned earlier were sung by the officiating priest, or celebrant, at mass. T h e Exultet differed f r o m other prefaces in being sung usually by the deacon, hence the possibility of musical sophistication. O n e other type of prayer, in which the whole assembly takes part, rather than having the priest speak for all, is the litany. Litanies were frequently sung i n procession, for example d u r i n g the ceremonies for consecrating a c h u r c h . T h e y were performed d u r i n g the progress to and from the font for the solemn baptism ritual of Easter E v e (shortly after the Blessing of the Candle in which the Exultet is sung), and again, if that were the custom, in the echo of that service on W h i t s u n E v e . O n the Rogation D a y s (the three weekdays before Ascension D a y , which always falls on a T h u r s d a y ) litanies were sung in procession before mass: this series was sometimes known as the Lesser litanies, while the Greater litanies were those sung in procession on St M a r k ' s D a y , 25 A p r i l . T h e normal form of such litanies is that of a long series of short verses, with a refrain. Invocation and refrain were sung first by soloists and then by the whole choir or assembly. N o r m a l l y there will be introductory verses, often i n c l u d i n g the words ' K y r i e eleison, Christe eleison', then a series of saints (including the patron saints of the church) will be invoked (response ' O r a pro nobis': 'Pray for us'). Safety f r o m ills and misfortunes will be requested ('Libera nos d o m i n e ' : 'Save us O L o r d ' ) and the saving events of Christ's life and ministry recalled; finally, Christ's aid for the c h u r c h and people is requested ('Te rogamus audi nos': ' H e a r us, we beseech thee'). T h e final versicles may include an A g n u s D e i formulary and K y r i e s once again. E a c h section, with its refrain, is sung to a different musical formula. T h e amount of repetition might vary according to the custom of the c h u r c h . T h e Easter E v e litanies were sometimes arranged in three series, called respectively by some such name as the Sevenfold (Septiformis), F i v e f o l d (Quinquepartita) and

E x . I I . 2 . 3 . F r o m the Exultet (left: Paris, B i b l . N a t . lat. 1112, fo. 9 6 ; r i g h t : Sarisburiense, 105)

r

Graduate

Paris Bibliotheque Nationale lat. 1112

f.96

Graduale Sarisburiense

105

E-xul-tet

iam angelica turba celorum

E-xultet

iam angelica turba c e - l o - r u m

i * " # -pe-xultent diui-na miste-ri-a

e-xultent diuina misteri-a

^,

rffeft
et pro tan-ti

life:
re-gis uic-to-n-a

et pro tanti regis uictori-a

tuba intonet

salutaris.

tu-ba

in-tonet

sa-lu - ta

ris.

Vere qui-a dignum et iustum est

V e - re qui-a dignum

et

iustum est

inuisibilem Deum patrem omnipotentem.

inuisibilem Deum omnipotentem

patrem.

h
P P

O ue-re be-a - ta

-* *
f

4L c
nox be a-ta nox

que expoli-a-uit

E-gypti-os

que expoli-a-uit

E-gypti-os

di-ta-uit

He-bre-os.

di-ta-uit

Hebre-os.

-w# ;
Nox

#
iunguntur. Nox in qua terrenis celesti-a lun-gun - tur.

in qua terrenis celesti-a

-for
O-ramus er-go te do-mine . . . -ramus te do-mine ...

T h r e e f o l d L i t a n y ( T r i p a r t i t a L e t a n i a ) a c c o r d i n g to t h e n u m b e r of t h o s e l e a d i n g t h e singing. Ex. 11.2.4 g i v e s the o p e n i n g of t h e R o g a t i o n T u e s d a y l i t a n y f r o m a f i f t e e n t h sources, the a l t e r n a t i o n a n d r e p e t i t i o n c e n t u r y Y o r k processional. A s w i t h most

s c h e m e is n o t s p e c i f i e d . A p a r t f r o m t h e ' O r a p r o n o b i s ' p h r a s e , w h i c h w i l l p r e s u m a b l y r e c u r a f t e r e a c h s a i n t has b e e n i n v o k e d , t h e r e are f o u r r e f r a i n verses w h i c h , at first at l e a s t , are u s e d i n t u r n a f t e r e a c h of t h e i n v o c a t i o n s . It is n o t c l e a r w h e t h e r o r n o t t h i s p a t t e r n is t o c o n t i n u e t h r o u g h o u t t h e s u b s e q u e n t series, w h i c h is n o t n o t a t e d . ( F o r a v a r i e t y of o t h e r l i t a n y c h a n t s , 'Litanei', MGG.) The m a n y n o t u s i n g r e c i t a t i o n f o r m u l a s , see Stablein,

T h o u g h t h e c h a n t i n g of t h e s a i n t s ' n a m e s o r o t h e r i n v o c a t i o n s c l e a r l y i n v o l v e s a r e c i t i n g n o t e (c i n E x . I I . 2 . 4 ) , t h e l i t a n i e s m a y b e r e l a t i v e l y h i g h l y i n f l e c t e d . number of n o t e s o t h e r t h a n t h e r e c i t i n g n o t e , c o m b i n e d w i t h a relatively small

E x . I I . 2 . 4 . F r o m a litany on R o g a t i o n T u e s d a y ( O x f o r d , B o d . L i b . e M u s . 126, fo. 58 )

v

Ky-rie

ley-son,

Christe -

ley-son.

Domi-ne

mise-re-re,

Christe miserere.

Miserere nobis pi-e

rex

d o - m i - n e Ihe-su Christe.

Chri - ste

au-di

nos.

Sancta M a - r i - a

o - ra pro

no-bis.

(Kyrie...Christe... as above)

Sancta D e - i

ge-nitrix o - ra pro

no-bis.

(Domine miserere as above)

Sancte G a - b r i - e l

o - ra

pro

no-bis.

(Miserere nobis as above)

Omnis chorus angelo-rum o - ret

pro

no-bis.

(Christe audi nos as above)

n u m b e r of s y l l a b l e s , m e a n s t h a t t h e r e c i t i n g n o t e is n o t r e p e a t e d v e r y m u c h . T h e s a m e is t r u e of m o s t m e l o d i e s Stablein, f o r the Lord's Prayer (see L e o n Robert 1963, 127, and is ' P a t e r n o s t e r ' , MGG, for various m e l o d i e s ) . A widely known melody

t r a n s c r i b e d f r o m the f o u r t e e n t h - c e n t u r y

C l u n i a c b r e v i a r y - m i s s a l of L e w e s ,

Cambridge, reciting prominent.

F i t z w i l l i a m M u s e u m 369 i n E x . I I . 2 . 5 . F o r t h e first p a r t of t h e c h a n t , t h e n o t e (the o n l y o n e r e p e a t e d ) is 6, b u t f r o m ' s i c u t et n o s ' a b e c o m e s m o r e T h e c a d e n c e s are e i t h e r o n G (less i m p o r t a n t ) o r a ( f u l l s t o p s ) . E x . I I . 2 . 5 . Pater noster ( C a m b r i d g e , F i t z w i l l i a m M u s e u m 369, fo. 2 4 1 7 2 9 7 )
v

i
Pater noster qui es in celis sanctifi-cetur nomen tu-um. Adueniet regnum tuum. F i - a t uoluntas tu-a sicut in celo et in terra. Panem nostram c o t i - d i - a - n u m

Et Et

m
sicut et nos dimittimus debi-toa malo. Amen,

da nobis hodi-e. ribus nostris.

dimitte nobis debita nostra

ne nos inducas in temptaci-o-nem.

Sed libera nos

(iii)

Lessons

T h e s a m e p r i n c i p l e s of r e c i t a t i o n as i n t h o s e f o r p r a y e r s , a n d s o m e of t h e s a m e v a r i e t y of m u s i c a l e l a b o r a t i o n , m a y be s e e n i n t h e t o n e s f o r c h a n t i n g l e s s o n s . T h e t o n e f o r t h e s h o r t c h a p t e r of the o f f i c e h o u r s g i v e n i n m o d e r n R o m a n b o o k s is a m o n o t o n e any i n i t i a l rise, w i t h flex, m e t r u m , a n d f u l l - s t o p example: r e c i t i n g n o t e c , f u l l - s t o p figure c-G-d-F, r e c i t i n g n o t e a, Roman MGG): metrum: full-stop: a-c-b-b-c a-b-bc i n f l e c t i o n , t h e n a fall to b cd-b-d-b final c l o s e bcc. T h e g o s p e l t o n e g i v e n as ' a n c i e n t ' i n i n t e r r o g a t i o n : r e c i t i n g t o n e b, books full-stop figure d-F-G-D figures Stablein, in modern 'Epistel', see or figures. N i g h t O f f i c e are s u n g i n t h e s a m e w a y , w i t h t h e f u l l s t o p c o m i n g at t h e l o w e r without the for fifth, T h e l o n g e r l e s s o n s of

T h e e p i s t l e s u n g at m a s s , w i t h r e c i t i n g n o t e r , has t h e f o l l o w i n g ( f o r a s u r v e y of v a r i o u s m e d i e v a l f o r m u l a s ,

T h e e n d of t h e w h o l e l e s s o n is s i g n a l l e d b y a n a c c e n t e d ac for the r e c i t i n g note a n d a

m o d e r n R o m a n books (the other appears not to be older than the sixteenth century, being similar to the prescriptions of Guidetti's Directorium this (see Stablein, ' E v a n g e l i u m ' , MGG chori of 1582) is similar to for further medieval tones).

A t various times and places, and even to a certain extent in m o d e r n service-books, more elaborate tones have been used for lessons on particularly solemn occasions in the year. T h e best-known instances are the tones used for the lessons of the first nocturn of the N i g h t Office d u r i n g the t r i d u u m , the three days before Easter S u n d a y . (See Prado 1934 for some remarkable Spanish examples.) Gospels at Christmas and Easter were occasionally also sung to a more elaborate tone (see H u g l o , ' G o s p e l ' , NG), as for example the one f r o m the M o o s b u r g gradual, M u n i c h , Universitatsbibliothek 2 156 given in E x . II.2.6. H e r e the hierarchy of main and secondary closes is not clear, and

E x . 11.2.6. F r o m the G o s p e l o n the feast of St J o h n the Evangelist ( M u n i c h , U n i v . - B i b l . 2 156, f o . 226 )

r

'#

--#

Domi-nus

uo - bis-cum.

Et cum spiri-tu

tu - o.

0 Sequentia sancti e-uange - l i - i secundum Jo-hannem. Glori-a ti-bi

0 0

domine.

-0-

In illo tern-pore

Dixit Ihe-sus Petro.

Se-que-re

me.

Conuersus Pe-trus

uidit ilium discipulum quern diligebat Ihesus sequentem.

Qui et recubuit in cena super pectus e-ius

et dixit.

Domine quis est qui

tradet

te?

9^

Hunc ergo cum uidisset Petrus

di-cit

Ihesu.

w
Dicit e - i

Domine hie autem quid?

Ihesus.

r
quid ad te? Tu me sequere.

Sic enim uolo manere donee u e - n i - o

questions do not have a distinct inflexion. T h e reciting note is generally G, f r o m an initial E or f r o m a longer preliminary figure G-a-E-F-G, pauses on the E. T h e endings are E-(F-E)-DEG-G conclusion of the lesson. T h e intoning of the Passionthe and FGa-GE-D-E,

reached until the also

sometimes with

G o s p e l on four days of H o l y W e e k w a s

performed in unusual ways. A s far back as the ninth century copies of the texts were marked with the letters c, t, and s at the point where the evangelist, C h r i s t , and other protagonists respectively were speaking. It appears that these letters are to be interpreted as in the series of notational aids known as significative letters (see below, I V . 3 ) , though in the later M i d d l e Ages they were understood as labels for the actual persons. Other letters (see Stablein, 'Passion', MGG) are cantor also to be found occasionally: c =celeriter t =trahere s = sursum high') ('quickly'), later cronista or media or tenere inferius ('evangelist') or m = mediocriter i iusum, a = alta

('at m e d i u m pitch, m e d i u m voice') is also f o u n d ('low voice') are also f o u n d succentor sursum ('raise ('raise

('slow, sustained'), later written as a cross for Christ ('at a lower pitch') and b = bassa ('the people') or = levare

('at a higher pitch'), later synagoga

('high voice') is f o u n d , and sometimes Is = lev are for the people is contrasted with Im

mediocriter

moderately') for the disciples T h e pitch-levels indicated by the letters are indeed to be found as three different reciting notes ( u s u a l l y / , c, a n d / ) in copies in staff-notation, w h i c h are of course later
7

than the oldest ' m a r k e d - u p ' copies of the text. In the late M i d d l e Ages, if not earlier, different singers sang the different parts of the text, as appears from the fourteenthcentury S a r u m missal Parma, Biblioteca Palatina 98, secunda vox, iii vox, and so on (MGG furthermore, 10, T a f e l 61.2, passion in the source; where the 'parts' are marked after c o l . 960this is the only the

only the parts for the singers other than

evangelist are copied in f u l l , mere incipits for the evangelist being g i v e n ; the S a r u m tone is edited in A n d r e w H u g h e s 1968, 184-6). A n idea of the variety of tones used, MGG). within a general adherence to the principles of recitation technique and distinction between the persons of the story, can be seen from Stablein's tables ('Passion', Particular attention was often directed towards Christ's words, for example the cry ' E l i , eli, lama sabacthani', and it is thus not surprising to see neumes entered specially above these words in the Jumieges evangeliary R o u e n , B i b l . M u n i c i p a l e 310 ( A . 1975 (late Spanish sources). 293) (facsimile in M M S 2, p i . X L V I I ) . F o r other extravagant passion tones, see G o l l n e r

T w o other gospels of special ritual significance, and thus special musical character, were those w h i c h recounted the genealogy of C h r i s t . T h a t appearing at the start of St Matthew's G o s p e l was sung on Christmas E v e , and that according to St L u k e on E p i p h a n y . Monastic use, w h i c h had a gospel reading at the end of the N i g h t Office, had the genealogies at that point in the liturgy. Gospels were not read there in secular uses as a general rule, but on these days an exception was made (they were intoned

b e f o r e r a t h e r t h a n after t h e T e D e u m ) . U s u a l l y t h e v e r s e s w e r e g r o u p e d i n p a i r s , w i t h a d i f f e r e n t t o n e f o r e a c h h a l f o f t h e u n i t . O c c a s i o n a l l y m o r e e l a b o r a t e s c h e m e s are encountered i n medieval sources (see S t a b l e i n , ' E v a n g e l i u m ' , MGG). E x . II.2.7 g i v e s a c o m m o n t o n e , t a k e n f r o m a R e i m s m i s s a l of t h e t h i r t e e n t h c e n t u r y . E x . I I . 2 . 8 has a m o r e c o m p l e x m e l o d y f o r t h e St L u k e genealogy, f r o m a b o o k of s i m i l a r date b u t enigmatic be provenance (it h a s e l e m e n t s any longer, of b o t h R e i m s a n d Paris usage), adaptable by Assisi, noteB i b l i o t e c a C o m u n a l e 6 9 5 . H e r e t w o m e l o d i e s are s u n g i n a l t e r n a t i o n t h e y c a n h a r d l y called recitations t h o u g h they are o f c o u r s e r e p e t i t i o n f o r n a m e s of d i f f e r i n g n u m b e r s of s y l l a b l e s . E a c h m e l o d y h a s five d i s t i n c t phrases; the shorter phrases of t h e St L u k e ' s text lend themselves w e l l to this treatment. E x . I I . 2 . 7 . F r o m the Genealogy a c c o r d i n g to St M a t t h e w ( R e i m s , B i b l . M u n . 224, f o . xi/16 )
v

Liber generati-o-nis Ihesu Christi f i - l i - i Dauid fi - 1 i1

Abraham.

A-braham genu-it Y - s a - a c .

Y - s a - a c au-tem ge-nu-it l a - c o b .

Iacob autem genu-it Iudam et f rat res ei-us.

Iudas autem ge-nu-it Phares et Zaram de Thamar.

_ Phares autem genu-it Esron.

w Esron au-tem ge-nu-it A - r a m . . . .

9

... Iacob autem genuit Ioseph uirum

Mari-e

**

"

De qua natus est Ihesus qui uocatur Christus.

58

//. Chant

Genres
r

E x . I I . 2 . 8 . F r o m the Genealogy according to St L u k e ( A s s i s i , B i b l . C o m . 695, fo. 37 )

.. Qui fuit Dauid,

qui fuit Ihesse,

qui fuit Obeth,

qui fuit Bo-oz,

qui fuit Salmon, ...

... Qui fuit Na-ason,

qui fuit Aminadab,

qui fuit A r a m ,

qui fuit Esrom,

qui fuit Pharens, ...

11. 3. (i) (ii) (iii) (iv) (v) Psalms Other Tones Tones Tones

T O N E S F O R P S A L M S

A N D O T H E R

C H A N T S

P s a l m T o n e s : T h e Paraptcres, T o n u s peregrinus for the C a n t i c l e s Magnificat and Benedictus for the P s a l m Verses of Introits and C o m m u n i o n s for R e s p o n s o r y Verses

(vi) T o n e s for the I n v i t a t o r y P s a l m (vii) Benedictus es Domine Deus pat rum nostrum i n the Saturday M a s s of the E m b e r Weeks (viii) T e D e u m l a u d a m u s (i) Psalms Bailey 1976, ' A c c e n t u a l ' , 1979; Stablein, ' P s a l m , B\ MGG; Connolly, 'Psalm, II, NG.

T h e c y c l e o f p s a l m s c h a n t e d d a i l y d u r i n g t h e o f f i c e is p e r f o r m e d t o t o n e s i n a m a n n e r s i m i l a r to t h e i n t o n a t i o n of p r a y e r s a n d l e s s o n s . F r o m a n e a r l y d a t e ( t h e late e i g h t h o r e a r l y n i n t h c e n t u r y ) , p e r h a p s u n d e r the i n f l u e n c e of B y z a n t i n e p r a c t i c e (see below, I I I . 14 a n d V . 4 ) , t h e r e w e r e e i g h t t o n e s i n t h e G r e g o r i a n s y s t e m . T h e c h o i c e of t o n e f o r t h e p e r f o r m a n c e of a p a r t i c u l a r p s a l m d e p e n d e d u p o n t h e m o d e o f t h e a n t i p h o n w i t h w h i c h t h e p s a l m w a s c o u p l e d i n the l i t u r g y o f t h e d a y . I n the c o u r s e of a y e a r the same p s a l m m i g h t be s u n g m o r e than antiphon, (differentiae, pitches with and thus to a different diffinitiones) w h i c h the fifty times, nearly always w i t h a different most tones a variety of cadences different psalm. even tone. For

w a s a v a i l a b l e , i n t h e o r y at least to c a t e r f o r t h e antiphon would start o n its r e p e t i t i o n a f t e r the

M e d i e v a l sources

r e g u l a r l y d i f f e r o n t h e n u m b e r of d i f f e r e n t i a e t h e y p r o v i d e , a n d

t h e i r a s s i g n m e n t of p a r t i c u l a r d i f f e r e n t i a e to p a r t i c u l a r a n t i p h o n s . ( S o m e t i m e s

the m o d e o f t h e a n t i p h o n , h e n c e the t o n e to be u s e d f o r the s i n g i n g of t h e p s a l m , w a s the s u b j e c t of d i f f e r i n g o p i n i o n s : see V . 4 . ) T h u s t h e s e l e c t i o n of d i f f e r e n t i a e g i v e n i n E x . I I . 3 . 1 b e l o w is n o t t h e s a m e as that i n m o d e r n V a t i c a n b o o k s . It is i m p o r t a n t to r e m e m b e r that t h e t o n e m a y b e c o n c l u d e d o n a v a r i e t y of n o t e s , a n d is i n n o w a y b o u n d to finish o n t h e s a m e final n o t e as t h e a n t i p h o n , t h a t i s , o n w h a t is n o r m a l l y r e c k o n e d to be the final of the m o d e . It is easy to c o n f u s e ' m o d e ' a n d

J.

lanes

for Psalms

and

Other

Chants
v v

E x . 11. 3.1. T h e eight p s a l m tones (Piacenza, B i b l . C a p . 65, fos. 2 6 4 - 2 6 7 )

i-1
G l o r i - a pa-tri et f i - l i - o et spiritu-i sancto

Sicut e-rat in principi-o et nunc et semper

et

in

secula seculorum a - men.

f*\

mm

^>

||

m m
m

m
9

rm m

2-

i
G l o r i - a pa-tri et f i - l i - o et spiritu-i sancto

Sicut e-rat in principi-o et nunc et semper

et in secula seculorum a-men.

&

G l o r i - a pa-tri et f i l i - o

et s p i r i - t u - i

sancto

Sicut e-rat in principi-o et nunc et sem-per

M m m

et in

secula seculo-rum

a-men.

M ~

\ M M *l

4.

G l o r i - a pa-tri et f i - l i - o

et s p i r i - t u - i

sancto

Sicut e-rat in principi-o et nunc et semper

et in secula secu-lorum

a-men.

-fl

*L#J

1*'

*%.

60
( E x . I I . 3 . 1 . cont.)

P P

cadence

for Custodiebant testimonia

G l o r i - a pa-tri et f i - l i - o

et spiritu-i sancto

Sicut e-rat in principi-o et

nunc et semper

et in secula seculorum a-men.

G l o r i - a pa-tri et f i - l i - o

et spiritu-i sancto

P
7.

Sicut e-rat in principi-o et nunc et semper

et in secula secu-lorum a-men.

G l o r i - a pa-tri et f i - l i - o

et spiritu-i sancto

Sicut e-rat in principi-o et nunc et semper

et in secula seculorum a-men.

G l o r i - a pa-tri et f i - l i - o

et spiritu-i

sancto

Sicut e-rat in principi-o et nunc et semper

et in secula seculorum a-men.

'tone', and it should therefore be borne in m i n d that while 'mode' is an abstract quality, having to do with the tonality of a chant, a tone is a sort of chant in itself, a melodic formula capable of supporting the performance of an almost infinite variety of psalm verses. E x . II.3.1 gives the eight psalm tones, and their cadences, as they appear in the tonary of a thirteenth-century c o m p e n d i u m from Piacenza (Piacenza, Biblioteca Capitolare 65). ( A tonary, which usually gives a list of chants in modal order, is often a more convenient source for tones than is a full antiphoner. F e w antiphoners set out tones i n full one after another. Indeed, to find out what tones and endings were used in a particular antiphoner it is necessary to check through each antiphon in the whole manuscript, as was done, for example, for the Italian antiphoner p u b l i s h e d in P a l M u s 9.) T h e cadences are given as six-syllable formulas, to fit the words seculorum antiphon Custodiebant testimonia, amen (usually abbreviated ' e u o u a e ' ) . A t the end of the cadences for tone 4 is one for the a chant which requires both b and bb and which E. must therefore be notated with final on a instead of

If one were to t u r n to a medieval antiphoner in order to see how these tones were used, one might well be puzzled at first. A t the appropriate point in the liturgy the antiphoner will probably give, not the text of the psalm to be sung, notated in accordance with the psalm tone, but simply a text incipit and the differentia. Vespers of Christmas we find as first antiphon Scitote pueri, to the quiaprope (LU For a example, in the antiphoner K a r l s r u h e , Badische Landesbibliothek, A u g . perg. 60, for 365, A M 237), mode 8 antiphon (see E x . II.3.2). It is followed by a text incipit for Ps. 112, performers, the monastic choir of Petershausen on the shore of Laudate Lake

and a differentia for the eighth tone. T h e full text of the psalm w o u l d be k n o w n

Constance, where this manuscript was used. T h e text c o u l d be f o u n d in a liturgical psalter of the c h u r c h , as one of the psalms for Vespers on a S u n d a y . B u t even there it would probably not be marked up for singing, that is, the text w o u l d not contain any indication of when the singers should leave the reciting tone and make a cadence, for each verse of the psalm as required; they would be expected to know the practice by heart. E x . I I . 3 . 2 . A n t i p h o n Scitote quia prope est, w i t h psalm-tone cadence ( K a r l s r u h e , Badische L a n d e s b i b l . A u g . p e r g . 60, f o . 17 )
r

Scito-te qui-a prope est

regnum D e - i

a - men dico uobis

q u i - a non

tardabit.

Ps. Laudate pueri.

Sometimes

no

psalm

text

incipit is g i v e n :

the

appropriate

psalm

would

be

ascertained from the liturgical psalter. Sometimes no cadence formula is g i v e n : the

m o d e of t h e a n t i p h o n m u s t t h e n be d e c i d e d u p o n , a n d t h e m a t c h i n g p s a l m t o n e u s e d , w i t h an appropriate monasticum adapted cadence. usualis, Antiphonale Romanum and Antiphonale be the M o d e r n b o o k s s u c h as the Liber for each verse of t h e

g i v e c l e a r i n s t r u c t i o n s o n h o w t h e t o n e , t h e m u s i c a l f o r m u l a , is t o psalms, whose t e x t s are marked accordingly:

syllables where a change as t h e Commemoratio

is to be m a d e are g i v e n i n b o l d o r i t a l i c t y p e . A s f a r as de tonis et psalmis modulandis of t h e n i n t h t o tenth have

t h e m e d i e v a l p r a c t i c e g o e s , h o w e v e r , w e are g e n e r a l l y r e l i a n t o n d i d a c t i c t e x t s , s u c h brevis c e n t u r y . A s B a i l e y ( 1 9 7 6 , ' A c c e n t u a l ' ) has p o i n t e d o u t , m e d i e v a l p r a c t i c e c a n n o t

b e e n u n i f o r m . S o m e s o u r c e s i n d i c a t e t h a t a t t e n t i o n w a s p a i d to t h e a c c e n t u a t i o n o f t h e text b e i n g s u n g , w h i l e others a p p l y the cadence f o r m u l a s m e c h a n i c a l l y . I n E x . I I . 3 . 3 , t a k e n f r o m B a i l e y ' s e d i t i o n of the Commemoratio to F: brevis (ed. Bailey, 1979, 52-3) brevis (1979, 5 2 - 3 ) , the c a d e n c e has b e e n a d j u s t e d so t h a t t h e last a c c e n t e d s y l l a b l e s h a l l b e s u n g to G , a n y f u r t h e r s y l l a b l e s

E x . 11. 3.3. Cadences f r o m the Commemoratio

fecit dominus

sanctum e-ius

i u - s t i - t i - a m su-am

If t e x t a c c e n t w e r e to b e r e s p e c t e d ,

t h e n b o t h the m e d i a n cadence a n d the adustments: . . . spi-ri-tu-i san-cto . . . se-cu-16-rum. A - m e n

final

c a d e n c e of t h e d o x o l o g y w o u l d r e q u i r e . . . et f i - l i - o . . . n u n c et s e m - p e r

W e c a n l o o k b a c k at E x . I I . 3 . 1 a n d see if t h e r e is a c h a n g e at F i - l i o ( t h a t w o u l d be a n a c c e n t u a l c a d e n c e ) o r at fi-Li-o (a m e c h a n i c a l l y a p p l i e d ' c u r s i v e ' c a d e n c e ) . If t h e a n d 8, b u t i n t h e final final c h a n g e c o m e s at s p i - R i - t u i , t h e c a d e n c e is a c c e n t u a l , if at s p i r i - T U - i it i s c u r s i v e . I n t h i s case t h e test is m e t i n t h e m e d i a n c a d e n c e s 2 - 5 cadences o n l y of t o n e s 5 a n d 7. H e r e P i a c e n z a 65 a l w a y s o b s e r v e s a c c e n t u a l C o n n o l l y ( ' P s a l m , I I ' , NG). ('Psalm, B ' , MGG). Both Commemoratio brevis. cadences.

T o n e s f o r p s a l m s , f o r t h e c a n t i c l e s , a n d f o r i n t r o i t v e r s e s are g i v e n i n p a r a l l e l b y A s w e l l as t h e s e , S t a b l e i n g a v e r e s p o n s o r y v e r s e t o n e s authors draw upon both the Vatican edition and the

(ii)

Other Psalm 1971;

Tones: Bailey

the Parapteres, 1977-8;

Tonus peregrin 1982,

us \ Atkinson, 'Parapter',

Erbacher HMT.

Atkinson

'Parapteres

T h e t w o h a l v e s of p s a l m v e r s e s are s u n g to t h e s a m e r e c i t i n g n o t e i n t h e e i g h t c o m m o n p s a l m tones, a n d most other tones, though both responsory verses a n d i n v i t a t o r y p s a l m t o n e s h a v e a c h a n g e of r e c i t i n g n o t e . A r a r e l y u s e d p s a l m t o n e , t h e s o - c a l l e d

'tonus peregrinus' ('wandering tone'; the L a t i n term is first found in the writings of G e r m a n theorists of the fourteenth century), also uses two different reciting notes. It is given f r o m the late-tenth-century Aquitanian tonary Paris, Bibliotheque Nationale, lat. 1118 in E x . I I . 3 . 4 . E x . I I . 3 . 4 . T o n u s peregrinus (Paris, B i b l . N a t . lat. 1118, fo. 113 )
v

Si-cut e-rat in principi-o et nunc et semper

et in secula seculorum a-men.

i
It

Seculorum

.
9

a-men.

is not

the only tone medii toni,

of this sort.

A number of them, + apto,

called

'parapteres'

(paracteres,

etc., possibly from Greek para

'join alongside'), are

mentioned in several early medieval treatises, from Aurelian of Reome onward. T h e y are usually cited in conjunction with a small group of antiphons of irregular modality, ' m o d u l a t i n g antiphons', as they have been called. T h e most prominent groups of antiphons are those like Nos qui vivimus, and those designated by Gevaert (1895) as musicis puts it, 'are not ' T h e m e 29', w h i c h , as the tenth-century treatise De modis

ended in the same way as they began'. (See 11.7 for examples and discussion.) T h e psalm tone therefore reverses the modulation in the antiphon itself, so that there is no abrupt change of tonality. A m o n g the other tones, the Commemoratio brevis cites the one given in E x . II.3.5 (the antiphon is completed from the Petershausen antiphoner). T h e higher second 'alleluia' of the antiphon is answered by the higher recitation on a in the psalm tone. T h e n the tone moves down to P\ which is where the antiphon will begin when repeated after the psalm verses. E x . I I . 3 . 5 . A n t i p h o n w i t h 'parapter' psalm tone ( K a r l s r u h e , Badische L a n d e s b i b l . A u g . p e r g . 60, f o . 1 7 ; Commemoratio brevis, e d . Bailey, 1979, 5 2 - 3 )
v

Notum fecit dominus

allelui-a

salutare su-um

alle-lu - ia.

Cantate domino canticum nouum

qui-a mirabili-a fecit dominus.

A s Bailey and A t k i n s o n have both suggested, in these 'irregular' tones we seem to have vestiges of a more flexible psalmodic practice not limited b y , and probably anterior to, the familiar eight tones. ( T h e notion is reinforced by a comparison with O l d R o m a n practice: see D y e r 1989, 'Singing', and below, V I I I . 3 . ) A s to the tonus

p e r e g r i n u s , it h a s b e e n r e m a r k e d t h a t a n t i p h o n s r e q u i r i n g it ( s u c h as Nos qui

vivimus)

are o f t e n a s s i g n e d as a n t i p h o n s f o r t h e B e n e d i c i t e at L a u d s , w h i c h h a s l e d S t e i n e r ( 1 9 8 4 , ' A n t i p h o n s ' ) to ask w h e t h e r t h e t o n u s p e r e g r i n u s m i g h t p o s s i b l y h a v e b e e n a s p e c i a l B e n e d i c i t e t o n e . O n t h e o t h e r h a n d , the t o n u s p e r e g r i n u s w a s a l s o r e g u l a r l y u s e d d u r i n g V e s p e r s f o r P s . 113, In exitu Israel (on S u n d a y i n m o d e r n secular use, Nos M o n d a y i n m o n a s t i c u s e ) ; it is e v e n p o s s i b l e that t h e n a m e of t h e t o n e w a s s u g g e s t e d b y t h e p s a l m , w h i c h s p e a k s of I s r a e l ' s d e p a r t u r e f r o m t h e l a n d of E g y p t . T h e t e x t qui vivimus comes f r o m this p s a l m .

( i i i ) Tories for

the Canticles

Magnificat

and

Benedictus

W h e r e t h e y are t o b e f o u n d i n m e d i e v a l s o u r c e s , w h i c h is r a r e l y , t h e y are s l i g h t l y m o r e ornate t h a n the c o m m o n p s a l m tones. M o s t have a few m o r e t w o - n o t e g r o u p s t h a n the p s a l m t o n e s , b u t t h i s is n o t so i n a l l cases o r i n a l l m a n u s c r i p t s .

( i v ) Tones for

the Psalm

Verses of Introits

and

Communions

S o m e w h a t m o r e o r n a t e a g a i n are t h e t o n e s f o r s i n g i n g p s a l m v e r s e ( s ) a n d d o x o l o g y w i t h t h e i n t r o i t a n d c o m m u n i o n at m a s s . T h e i n t r o i t t o n e s , i n c o n t r a s t to t h e u s u a l p r a c t i c e f o r o f f i c e p s a l m t o n e s , h a v e a n e w i n t o n a t i o n after t h e m e d i a n c a d e n c e . this they r e s e m b l e the tones for r e s p o n s o r y verses. A t t h i s p o i n t it b e c o m e s p o s s i b l e to i l l u s t r a t e w i t h o u t g r e a t d i f f i c u l t y t h e w a y i n w h i c h t e x t a n d t o n e w e r e j o i n e d , f o r a n u m b e r of m e d i e v a l g r a d u a l s c o p y o u t i n f u l l t h e p s a l m v e r s e t o be s u n g . E x . I I . 3 . 6 g i v e s s o m e p s a l m v e r s e s f r o m i n t r o i t s i n t h e C h a r t r e s c a t h e d r a l g r a d u a l P r o v i n s , B i b l i o t h e q u e M u n i c i p a l e 12. T h e v e r s e s b e g i n i d e n t i c a l l y , a n d t h e first t w o are also a l i k e after t h e m e d i a n c a d e n c e , d e s p i t e t h e fact t h a t i n t h e s e c o n d ' i u s t i c i a ' w o u l d n o r m a l l y be a c c e n t e d o n t h e s e c o n d s y l l a b l e : t h e m u s i c a l figure is i n d e p e n d e n t of a c c e n t u a t i o n . I n the first h a l f of t h e v e r s e , t h e r i s e t o d is m a d e o n a n a c c e n t e d s y l l a b l e , a n d t h a t m e a n s that i n t h e s e c o n d e x a m p l e o n l y o n e c f o l l o w s , because o n l y three syllables r e m a i n altogether, instead of the f o u r i n the first In

E x . I I . 3 . 6 . P s a l m verses for introits ( P r o v i n s , B i b l . M u n . 12, fos. 2 0 3 , 178 ,

v r

186 )
r

Benedic a-nima me-a

domino

et omni-a qui intra me sunt nomini

sancto e-ius.

In te

domine speraui non confundar in e-ternum

in iustici-a tu-a libera me et

e-ripe

me.

Et

Petrus ad se con

- uersus dixit.

v e r s e s . T h e final c a d e n c e is a p p l i e d m e c h a n i c a l l y , h o w e v e r , so t h a t n o c h a n g e is m a d e i n a p p l y i n g t h e c a d e n c e f o r m u l a : c o n t r a s t t h e a c c e n t u a t i o n of ' n o m i n i s a n c t o e i u s ' a n d 'et e r i p e m e ' : n o - m i - n i san-cto ei-us et e - ri-pe me T h e t h i r d v e r s e is v e r y s h o r t a n d t h e t w o h a l v e s of t h e p s a l m t o n e are e l i d e d . T h e s a m e t o n e s a p p e a r to h a v e b e e n u s e d f o r t h e c o m m u n i o n as f o r t h e i n t r o i t . T h e c o m m u n i o n p s a l m v e r s e w a s i n a n y case f r e q u e n t l y b o r r o w e d f r o m t h e i n t r o i t .

(v)

Tones for Responsory

Verses

F a r m o r e e l a b o r a t e are t h e t o n e s u s e d f o r t h e verses of o f f i c e r e s p o n s o r i e s . T h e s a m e p r i n c i p l e s n e v e r t h e l e s s h o l d t r u e . E x . II.3.7 g i v e s t h e v e r s e s f o r t h e first t h r e e m o d e 3 responsories from the Petershausen antiphoner. Obviously, text accentuation is u s e d f o r d e t e r m i n e s w h e r e c e r t a i n g r o u p s of n o t e s w i l l be p l a c e d . T h e figure cdcc t h e first a c c e n t e d s y l l a b l e , so t h a t Preoccupemus solis ortu w i t h o n l y o n e , a n d Tollite portas ' ( T o l ) l i t e ' has t w o u n a c c e n t e d s y l l a b l e s , so t h e

b e g i n s w i t h t h r e e u n a c c e n t e d cs> A figure abcaaG is s p l i t . T h e m e d i a n

w i t h n o n e at a l l . T h e rest of t h e w o r d

c a d e n c e is t h e s a m e i n a l l t h r e e v e r s e s , b u t t w o d i f f e r e n t a p p r o a c h e s are u s e d : i n E x . 11. 3.7. Verses of the responsories Salvatorem virgo concipiet expectamus, Audite
v

verburn,
r

a n d Ecce

( K a r l s r u h e , Badische L a n d e s b i b l . A u g . p e r g . 60, f o s . 2 - 3 )

P r e - o c - c u - pe-

-mus

f a - c i - e m e-ius in con-fessi - o-

-ne

et

in psalmis iubi-

-le-mus

e-

-i.

so - lis

or-tu et

oc-ca-

-su

3^3
ab a-qui - lo. -ne m m >
l

et

ma-

-ri. m m m m
#

"

m m m m

Tol - l i -

-te

portas principes nostras et e - l e - u a - m i n i porte

e-ter-na -

les

-bit.

Preoccupemus a couple of

a n d Tollite liquescent

portas

t h e r e is r a t h e r a l o t of t e x t to s i n g , m o s t l y o n a, i n Preoccupemus and with accented

with

neumes

syllables figure. The have

h i g h l i g h t e d i n Tollite final Ecce

\ a m o r e c o n c i s e figure a p p e a r s i n A solis ortu.

T h e second half of

e a c h v e r s e r e c i t a t i o n is o n c\ i n Preoccupemus virgo!).

t h e r e is a s h o r t i n t o n a t i o n

c a d e n c e is v e r y o r n a t e , s t r e t c h i n g o v e r five s y l l a b l e s (that is t h e w h o l e t e x t i n T h e m u s i c is a p p l i e d h e r e m e c h a n i c a l l y , f o r t h e t h r e e verses

d i f f e r e n t a c c e n t p a t t e r n s , b u t the m u s i c is a l w a y s t h e s a m e , w i t h o u t a n y e x t r a s i n g l e n o t e s o r s p l i t t i n g of n e u m e s . It w i l l b e n o t i c e d t h a t d i f f e r e n t r e c i t i n g n o t e s are u s e d i n the t w o h a l v e s of the v e r s e , a a n d c. A G;

r

T h a t is u s u a l l y t h e case i n t h e t o n e s f o r r e s p o n s o r y v e r s e s . 'Responsory', not NG; Processionale monasticum,

(Copies f r o m II', the latter

v a r i o u s s o u r c e s m a y b e f o u n d i n S t a b l e i n , ' P s a l m B ' , MGG; Cutter, but r e p r i n t e d w i t h a u s e f u l note i n H u c k e 1973.) Most all toneswhether

Connolly, 'Psalm and A S , of

s i m p l e p s a l m tones or those

responsory (the A

verseshave a rising intonation and a falling cadence.

Several rising cadences

w o r d ' c a d e n c e ' is e t y m o l o g i c a l l y i n a p p r o p r i a t e ) m a y b e seen i n E x . 11.3.1 a b o v e . falling openings.

g l a n c e at t h e r e s p o n s o r y v e r s e t o n e s i n o n e of t h e e d i t i o n s j u s t c i t e d w i l l r e v e a l s e v e r a l A s w i l l be d i s c u s s e d l a t e r ( V . 4 ) , t h e c l a s s i f i c a t i o n a c c o r d i n g t o a s y s t e m of e i g h t m o d e s is a r e l a t i v e l y late d e v e l o p m e n t i n W e s t e r n c h a n t . T h e p o s s i b i l i t y h a s j u s t b e e n m e n t i o n e d that t h e r e w e r e m o r e t h a n e i g h t p s a l m t o n e s , exists f o r t h e t o n e s of r e s p o n s o r y v e r s e s . r e s p o n s o r i e s (AS, A systematic and the same p o s s i b i l i t y e n q u i r y has n o t yet been MGG,

p u b l i s h e d , b u t it m a y b e m e n t i o n e d t h a t F r e r e n o t i c e d a s e c o n d v e r s e t o n e f o r m o d e 8 I n t r o . , 6 0 , facs. 171, 174, e t . ) , a n d H u c k e ( ' R e s p o n s o r i u m ' , 320) r e p o r t e d t h a t o t h e r verse t o n e s w e r e o c c a s i o n a l l y t o be f o u n d , e v e n a m o n g s t t h e o l d c o r e r e p e r t o r y . B e a r i n g i n m i n d t h e fact t h a t t h e n o t a t i o n of o f f i c e c h a n t s d o e s n o t s e e m to h a v e b e e n u n d e r t a k e n s y s t e m a t i c a l l y b e f o r e t h e l a t e r t e n t h c e n t u r y , o n e m i g h t w e l l ask w h e t h e r millennium. these other t o n e s are t h e r e l i c s of a o n c e greater number, or a l t e r n a t i v e l y w h e t h e r the r e s t r i c t i o n to e i g h t w a s b e c o m i n g r e l a x e d b y t h e e n d of t h e

( v i ) Tones for Frere i n AS;

the Invitatory

Psalm Steiner, 'Invitatory', NG. usually Venite

Stablein, ' I n v i t a t o r i u m ' , MGG;

P s a l m verses u s u a l l y c o n s i s t of t w o h e m i s t i c h s , a n d p s a l m t o n e s t h e r e f o r e c o n s i s t of t w o e l e m e n t s . exulternus, A t t h e start of t h e N i g h t O f f i c e , h o w e v e r , P s . 9 4 ,

is s u n g i n a d i f f e r e n t w a y , i n u n i t s of five p h r a s e s . T h e t e x t is n o t that o f VIII.6). are

t h e s o - c a l l e d G a l l i c a n p s a l t e r , u s e d f o r t h e c o m m o n p s a l m o d y , b u t t h a t of t h e soc a l l e d R o m a n p s a l t e r (see T h e r e are b o t h s i m p l e a n d o r n a t e V e n i t e t o n e s . S o m e t i m e s t h e five e l e m e n t s

d i s p o s e d as t w o t i m e s t w o p h r a s e s , w i t h a r e c i t a t i o n f o r m u l a l i k e a p s a l m t o n e , t h e n a c o n c l u d i n g p h r a s e . I n s e v e r a l of t h e t o n e s , h o w e v e r , r e c i t i n g n o t e s are r a r e l y to b e

heard. Some of the melodies, as we may call them, are quite ornate. T h e impression is not that of a 'tone' in the sense we have just been using, but rather of a long melody with a n u m b e r of elastic points where expansion for a long verse, or contraction for a short one, may easily be effected. E x . II.3.8 gives the first three verses of a Venite from the Saint-Denis antiphoner Paris, Bibliotheque Nationale, lat. 17296. In the first phrase c can be heard as a reciting note (in verse 5 it is used more frequently), in the second phrase the note is a. Later verses have further repeated rs at the start of the third phrase, which is then supplanted by d. mutual attraction In the fourth phrase there are again two reciting notes, c at the of a and c is discernible throughout. T h e figure a-Ga-c-b, beginning, then a, as in phrase 2, while c is the most important note in phrase 5. T h e m o v i n g f r o m a to c and leading back down again, contains the melodic essence of the piece (it is marked with a bracket in E x . II.3.8). In the course of each verse it appears four times; practically everything else is recitation around a or c> before the final melisma elaborates the kernel figure for a last time. It is noticeable, however, that this figure appears sometimes at a break in the text ('salutari nostro'), sometimes elsewhere ('exultemus'), so it cannot be regarded as a cadential figure; neither does any other obvious cadential figure appear: the melodic material is disposed rather freely over the whole verse. E x . I I . 3 . 8 . Invitatory tone ( P a n s , B i b l . N a t . lat. 17296, fo. 347 )
r

V e - ni - te

e-xul-temus

domino

i u - b i - l e - m u s Deo

sa-lu-ta-ri

nostro.

Preoc-cu-pe-mus

fa-ci-em

e - ius

in confes-si - o - ne.

Et

in psalmis i u - b i -

-le - mus

e-

-i.

F e w Venite tones are available in modern editions. Eight may be found in responsorialis, others in P a l M u s 12.

Liber

N o comprehensive survey of the medieval

repertory has been made, but it seems that invitatory antiphons were reckoned to belong only to modes 2 - 7 , and consequently only six Venite tones were required. In practice some modes, especially mode 4, had several alternative tones. ( F o r C l u n i a c practice, see Steiner 1987.)

(vii) Weeks

B e n e d i c t u s es D o m i n e D e u s p a t r u m n o s t r u m in the Saturday

Mass

of the

Ember

A n o t h e r c a n t i c l e w i t h its o w n t o n e i n t h i s case o n e o n l y i s t h e Benedictus b e t w e e n t h e g r a d u a l s a n d t h e t r a c t at m a s s o n S a t u r d a y i n t h r e e of t h e f o u r W e e k s of the y e a r . T h e s a m e m e l o d y is u s e d f o r e a c h v e r s e . I n m o d e r n

es s u n g Ember

service-books

it is e n t i t l e d ' H y m n u s ' . A s a s o n g of p r a i s e i n a g e n e r a l s e n s e it m a y q u a l i f y f o r t h i s a p p e l l a t i o n , b u t t h e n u m b e r of s y a l l a b l e s i n e a c h v e r s e d i f f e r s , so t h a t t h e m e l o d y , o r tone, is s t r e t c h e d out b y m e a n s of r e p e a t e d notes, or shortened by elisions, as r e q u i r e d . I n its m o b i l i t y the m e l o d y r e s e m b l e s s o m e of t h e V e n i t e t o n e s . A s i n t h e b i b l i c a l t e x t i t s e l f , t h e s e c o n d h a l f of e a c h v e r s e f o r m s a r e f r a i n .

( v i i i ) Te Deum

laudamus Steiner, ' T e D e u m , 1-2', the T e NG. text is a verses

Schlager, ' T e D e u m ' , MGG; L i k e the G l o r i a of t h e

mass,

D e u m is a s o n g of p r a i s e w h o s e

c o m p i l a t i o n of h e t e r o g e n e o u s p a r t s : p a r a l l e l v e r s e s at t h e s t a r t , a q u o t a t i o n f r o m t h e S a n c t u s , a d o x o l o g y (verses 1 1 - 1 3 ) , t h e n a section p r a i s i n g C h r i s t , a n d d r a w n f r o m the p s a l m s . O n l y o n e m e l o d y is k n o w n , i n s e v e r a l v a r i a n t v e r s i o n s . It is b u i l t u p o n p s a l m o d i c f o r m u l a s , w h i c h c h a n g e w h e n a n e w s e c t i o n of t e x t b e g i n s . T h i s raises t h e p o s s i b i l i t y t h a t t h e m u s i c a l f o r m u l a s are as o l d as t h e i r r e s p e c t i v e t e x t s , at least i n e s s e n c e . A n a d e q u a t e s t u d y b a s e d o n a c o m p a r i s o n of m a n u s c r i p t s o u r c e s is s t i l l n e e d e d . S t e i n e r has o u t l i n e d t h e t o n a l p r o b l e m s of t h e m e l o d y , w h i c h is u s u a l l y a s s i g n e d t o m o d e 4. F r o m t h e c o n f l i c t i n g o r e v a s i v e v e r s i o n s i n t h e a v a i l a b l e s o u r c e s it l o o k s as i f the m e l o d y o r i g i n a l l y h a d b o t h Ft a n d F^ (6t( a n d bb at a h i g h e r t r a n s p o s i t i o n , E^ a n d Eb at a l o w e r ) . F^ d e f i n i t e l y s e e m s r i g h t f o r the l a t t e r p a r t o f t h e c h a n t , a n d e a r l i e r E c a n be a v o i d e d a l t o g e t h e r if d e s i r e d ( c a d e n c i n g G-G-E We may take the position with discussion. T h e i n s t e a d of final E, G-Efy-E). for the purposes of individual r e c i t i n g n o t e a, finally

f o l l o w i n g i n f o r m a t i o n w o u l d have to be

modified for

s o u r c e s . T h e r e c i t i n g n o t e i n e a c h p h r a s e is c i r c l e d . T h e first p a r t uses t h e p s a l m o d i c f o r m u l a : G-b-c-b--b-a || E-G--G-ab~baG-G

A f t e r s o m e less r e g u l a r v e r s e s a n o t h e r f o r m u l a takes o v e r :
E

-G--G-a-b-a

\\

E-G-@-G-a-b-G-E

A t ' A e t e r n a f a c ' the w h o l e t o n a l l e v e l s i n k s a f o u r t h , w h i c h is w h e r e t h e d e c i s i o n a b o u t Ft) o r Fjt becomes important: I I C-E-F--a-F-GFE-E versions. C-DE-(E)-F-D-F-EDC S o u r c e s like the W o r c e s t e r

A n t i p h o n e r ( P a l M u s 12, 5) w h i c h s t a r t o n Z ) , w i t h a

r e c i t i n g n o t e G , n o w m o v e u p a t o n e to j o i n t h e o t h e r

A t 'Per singulos dies' the previous level is regained. It should be emphasized that these formulas are handled with a good deal more flexibility than simple psalm tones.

11.4. (i)

T H E G R E A T RESPONSORIES O FT H E N I G H T Introduction

OFFICE

(ii) R e p e r t o r y , T e x t s , and F o r m (iii) M u s i c (iv) (v) Centonization Melismas

F r e r e i n A S ; H u c k e , ' R e s p o n s o r i u n V , MGG] H u c k e 1973; [ C u t t e r ] , 'Responsory', NG. (i) The Introduction great responsories of the N i g h t Office, like the graduals and tracts of mass

considered in the next section, are long, ornate chants in which the same material can be f o u n d in several different pieces of the same tonality. T h i s is comparable to what we have just seen in simpler chants. U n d e r n e a t h the surface detail of the ornate chants one may still recognize passages of recitation, and c o m m o n ways of opening and closing the piece can be discerned, comparable to the intonations and cadences of simple psalmody. T h e melodies are, however, m u c h more elaborate than the c o m m o n psalm tones, and there are far more of them, in the case of responsories over a thousand in some medieval manuscripts. T h e y may nevertheless be grouped in families, according to the musical material they use. A n d if we regard each melodytype as roughly equivalent to a simple psalm tone, then the disparity in numbers is not so startling. Responsories, graduals, and tracts have fared well as far as musical analysis goes. Frere made a pioneering study of office responsories in the introduction to AS, identifying and labelling recurring musical figures to provide a taxonomy of a great part of the repertory. H i s shorthand method of characterizing pieces was extended by A p e l (1958) to graduals and tracts. In the meantime Wagner (III) and Ferretti (1938) had also published analyses of the repertory. M o r e recently H u c k e has devoted several important studies to them ('Responsorium', MGG] 1955, 'Gregorianischer'; 1956; 1973; and further remarks, 1980, ' T o w a r d s ' ) . Here it will be sufficient to illustrate the general principles at work.

(ii) Repertory,

Texts,

and

Form

T h e responsories are not as well known as the graduals and tracts of mass, for they are far more numerous and less easily accessible in modern editions. T h e r e are the fascimiles A S , P a l M u s 9, and P a l M u s 12, and the texts of other antiphoners (and breviaries) have been published (notably the twelve in C A O ) . But because the N i g h t

Office is no longer sung with the elaborate responsory melodies, Vatican versions are not available. The Liber responsorialis contains over 300, the Processionale monasticum over 100, and others are in LU.

M o s t medieval manuscripts contain two or three times this n u m b e r . T h e O l d R o m a n antiphoners contain over 600, and so does one of the earliest notated Frankish antiphoners, that of the monk Hartker of St G a l l (St G a l l , Stiftsbibliothek 3 9 0 - 3 9 1 : P a l M u s I I / l ) . L a t e r medieval sources may contain over 1,200. A s H u c k e ('Responso r i u m ' , MGG) has pointed out, a basic core of the repertory is to be found in practically all medieval sources, but the order in w h i c h the responsories are assigned to the nocturns is very variable. ( T h e same is true for office antiphons.) C o m p a r i n g the order of responsories in various sources has therefore become a favourite way of detecting relationships between sources. Responsory texts are mostly selected with respect to the readings of the N i g h t Office w h i c h they follow. T h u s there are blocks of verses excerpted f r o m the Prophets in Advent, from the psalms (in numerical order) after E p i p h a n y , from the Heptateuch in L e n t , and so o n . G r o u p s of them were sometimes copied with titles denoting their source, as for example 'de A d a m ' , 'de N o e ' in L e n t , or 'Historie' d u r i n g the s u m m e r months (when T o b i t , Judith, Esther, the Maccabees, and so on, were read). Responsories consist of two main parts, here called the respond and the verse. T h e verses, usually sung to a rather elaborate tone, have just been discussed. T h e order of performance is basically r e s p o n d - v e r s e - r e s p o n d , to which a G l o r i a and further repeat of the respond is sometimes added, giving the form R - V - R - G - R . W h e n the respond is repeated it is usually shortened, in that only its second half is sung. F o r the repeat after the G l o r i a it may be further shortened, so that only the final phrase is sung. T h e assignment of particular verses to particular responds is generally unstable. Early in the ninth century Amalarius of M e t z reported that in Rome many responsories were sung with more than one verse, but in the earliest Frankish sources practically all have one only. Extra verses then become more frequent in the later M i d d l e Ages. T h e variety between sources in choice of verses seems to reflect early practice, whereby the cantor selected his verses at will. T h i s is an important point of difference with so-called antiphonal psalmody, where a complete psalm is sung. U s u a l l y only the first part of the doxology was sung ('Gloria patri et filio et spiritui sancto'), though some sources stretch the same music over the complete text. T h e Rule of St Benedict calls for the doxology for the last responsory of each nocturn, the practice followed in most medieval books, though once again the practice varied from church to c h u r c h . O f the 634 responsories in Hartker's antiphoner (figures in Ferretti 1938, 246, and Cutter, 'Responsory', NG), about an eighth are in mode 4, about the same as mode 2, slightly more than in mode 3, and slightly less than in mode 1. M o s t (about a fifth each) are in modes 7 and 8, while the F modes have relatively few.

(iii)

Music

W e c a n g a i n a n i d e a of t h e m u s i c a l m a k e - u p of r e s p o n s o r i e s b y p l a c i n g s i d e b y s i d e f o u r p i e c e s f r o m t h e N i g h t O f f i c e f o r St S t e p h e n ( E x . I I . 4 . 1 ) . R e m e m b e r i n g h o w r e s p o n s o r y v e r s e s w e r e p e r f o r m e d , w e c a n see h e r e also s t a n d a r d i z e d p o i n t s o f a r r i v a l a n d d e p a r t u r e , a n d o c c a s i o n a l l y r e c i t a t i o n n o t e s (F) movement territory. Frere use) the used a system second phrase of l a b e l l i n g c a d e n c e s w h i c h ends o n E, whereas i n the I have f o l l o w e d here, Klosterneuburg where p o s s i b l e (cf. AS, I n t r o d u c t i o n , 3 3 - 4 ) . B u t i n F r e r e ' s s o u r c e ( a n a n t i p h o n e r of S a r u m antiphoner T h e s a m e h a p p e n s i n t h r e e of t h e f o u r r e s p o n d s i n t h e t h a t is than i n the verse tones, and even \ b u t t h e r e is g r e a t e r f r e e d o m of into foreign r o o m for excursions

t r a n s c r i b e d h e r e it e n d s o n F. third phrase.

T h e b e g i n n i n g a n d t h e e n d find the f o u r r e s p o n d s i n c l o s e s t a g r e e m e n t , phrase O a a n d phrase E l .

I n t h e s e c o n d p h r a s e , t h e first t w o r e s p o n d s are a l m o s t i d e n t i c a l , t h e t h i r d r e s p o n d has t h e s a m e c a d e n c e , note. T h e t h i r d p h r a s e is s i m i l a r i n a l l r e s p o n d s , t h o u g h m o r e l o o s e l y so t h a n at the b e g i n n i n g of t h e r e s p o n s o r y ; t h e l o n g e r texts h a v e e x t r a r e c i t a t i o n (a ac a, e t c ) , w h i l e t h e s h o r t e s t t e x t , ' d o m i n e I e s u C h r i s t e ' , f o r g o e s t h i s a l t o g e t h e r . It is i n t e r e s t i n g t h a t all t h e f o u r r e s p o n d s c o n v e r g e o n the n o t e s aGF^GaGaGF four notes, 'ait' an extra five. of (as f o r ' s a n c t o r u m ' i n t h e f o u r t h of t h e r e s p o n d s ) , b u t t w o of t h e m w a n d e r o n b e y o n d i t : ' C h r i s t e ' n e e d s a n e x t r a T h e f o u r t h p h r a s e sees t h e r e s p o n d s g o i n g a l o n g q u i t e d i f f e r e n t p a t h s . T h r e e b u t t h e f o u r t h r e s p o n d m e r e l y has t h e s a m e r a n g e a n d final

t h e m r e m a i n i n t h e l o w e r r a n g e , b u t the t h i r d r e s p o n d r i s e s u p r a t h e r d r a m a t i c a l l y to c o n c e a g a i n , p e r h a p s i n r e s p o n s e to the w o r d s of S t e p h e n h i m s e l f : ' B e h o l d , I see t h e heavens o p e n e d ' ( A c t s 7: The 56). the final phrase w h i c h responds have is a I n f r o n t of t h i s , t w o of t h e s e c o n d r e s p o n d n o w has o n l y o n e m o r e p h r a s e ,

very s i m i l a r i n all four r e s p o n d s . p r e p a r a t o r y p h r a s e , c a d e n c i n g o n G. the final phrase.

T h e t h i r d r e s p o n d uses t h i s p h r a s e a l m o s t i n

passing, a i m i n g instead for a m e l i s m a on 'stantem', w h i c h carried the m u s i c over into T h e s e f o u r are n o t t h e o n l y r e s p o n d s u s i n g t h i s m u s i c a l m a t e r i a l , as a g l a n c e at F r e r e ' s a n a l y s e s w i l l s h o w . T h e final c a d e n c e is also u s e d i n m o d e 3 p i e c e s , a n d so is that of t h e t h i r d p h r a s e ( w h i c h r e s e m b l e s the m e d i a n c a d e n c e i n t h e r e s p o n d s f o r t h i s m o d e ) . S o m e phrases w h i c h were u n i q u e a m o n g o u r f o u r r e s p o n d s m a y be f o u n d i n o t h e r m o d e 4 r e s p o n s o r i e s , s u c h as ' C h r i s t i m a r t y r i ' i n t h e f o u r t h r e s p o n d o r ' a c c i p e s p i r i t u m ' i n the first. O t h e r phrases r e m a i n u n i q u e : 'ecce v i d e o ' a n d the 'stantem' one m e l i s m a i n t h e t h i r d r e s p o n d . I n v i e w of the s t r u c t u r a l i m p o r t a n c e o f t h e n o t e F,

might expect some correspondence w i t h F - m o d e responsories, for e x a m p l e , i n the o p e n i n g . B u t t h i s is n o t t h e c a s e ; e v e n t h o u g h s o m e F - m o d e r e s p o n s o r i e s start w i t h a p h r a s e r e c i t i n g o n F a n d c a d e n c i n g o n D, they have a quite different a p p r o a c h .

72 Ex. II.4.1.

II.

Chant

Genres
v r

R e s p o n d s of f o u r responsories ( K l o s t e r n e u b u r g , S t i f t s b i b l . 1013, f o s . 34 36 )

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T h e s i m i l a r i t i e s a n d d i s s i m i l a r i t i e s b e t w e e n r e s p o n s o r i e s a r e easy e n o u g h t o p i n p o i n t , e s p e c i a l l y w i t h F r e r e ' s a n a l y s e s t o h a n d . W h a t does t h i s t e l l u s a b o u t t h e w a y t h e s e pieces were c o m p o s e d ? T o answer this question, we s h o u l d k n o w a m o n g other things w h o sang the pieces. F o r t h e p e r i o d i m m e d i a t e l y p r e c e d i n g the c o m m i t t i n g of these pieces to w r i t i n g , that is, the e i g h t h a n d n i n t h centuries, w h e n the repertory was s e t t l i n g into t h e f o r m w e h a v e i n t h e e a r l i e s t m a n u s c r i p t s , t h e s i t u a t i o n is n o t a l t o g e t h e r c l e a r . T h e p r a c t i c e o f t h e p r e s e n t d a y is t h a t t h e l e a d e r ( s ) o f t h e c h o i r i n t o n e t h e f i r s t w o r d ( o n l y ) o f t h e r e s p o n d , a n d t h e c h o i r c o m p l e t e s t h e r e s p o n d . T h e v e r s e is s u n g b y a s o l o i s t , o r s m a l l g r o u p o f s i n g e r s . T h e r e p e a t o f t h e r e s p o n d i s s u n g b y t h e c h o i r . T h i s p r a c t i c e is b y n o m e a n s a m o d e r n c o n v e n i e n c e , f o r it can be seen i n t h e P a r i s i a n p o l y p h o n i c settings of the t w e l f t h to t h i r t e e n t h c e n t u r y . If w e allow the p r i n c i p l e that soloists u s u a l l y s i n g more difficult m u s i c than the choir, then this way of p e r f o r m i n g responsories seems s o m e w h a t c o n t r a d i c t o r y . I t w o u l d s u r e l y b e easier t o t r a i n a c h o i r t o s i n g t h e v e r s e s , a d a p t i n g the w e l l - k n o w n texts to the a p p r o p r i a t e tone. W e c o u l d i m a g i n e t h e c a n t o r d i r e c t i n g h i s s i n g e r s w h e r e t o m a k e t h e a p p r o p r i a t e i n f l e x i o n s , j u s t as h e m i g h t d o f o r s i m p l e r p s a l m o d y . T h e r e s p o n d s , b y c o n t r a s t , are f a r less u n i f o r m , a n d o n e w o u l d expect t h e m to have r e q u i r e d m o r e rehearsal. A s H e l m u t H u c k e h a s p o i n t e d o u t (1977, 186; 1980, ' T o w a r d s ' , 452), i n t h e L u c c a a n t i p h o n e r ( P a l M u s 9) a n t i p h o n s a n d r e s p o n s o r i e s a r e u s u a l l y m a r k e d w i t h a c r o s s at the p o i n t w h e r e t h e solo part ends a n d t h e c h o i r takes o v e r . ( I n r e s p o n s o r i e s it is o f t e n , b u t n o t a l w a y s , t h e s a m e p l a c e as w h e r e t h e r e p e a t a f t e r t h e v e r s e s t a r t s . ) T h e cross is e q u i v a l e n t to t h e asterisk f o u n d i n m o d e r n c h a n t - b o o k s , b u t it u s u a l l y o c c u r s far l a t e r t h a n t h e m o d e r n a s t e r i s k . c r o s s e s as t h e y appear T h e choir apparently sang very little of t h e although the K l o s t e r n e u b u r g a n t i p h o n a n d o n l y a s m a l l part of t h e r e s p o n s o r y . I n E x . II.4.1 a b o v e I have p l a c e d i n the L u c c a manuscript, m a n u s c r i p t has n o s u c h m a r k s . ( F o r the t h i r d respond the place of the cross is n o t c l e a r : as f a r as I c a n see, o n e h a s b e e n e r a s e d a n d a n o t h e r a d d e d ) . T h i s is r e a s s u r i n g , for t h e c r o s s e s i n d i c a t e that h e r e t h e c h o i r s i n g s o n l y t h e m o s t f r e q u e n t l y u s e d p h r a s e s for m o d e 4 responsories, labelled G l a n d E l . A d m i t t e d l y , m o r e e x t e n d e d rehearsal w o u l d still be needed for the third respond. T h e d i v i s i o n of the respond between soloist a n d c h o i r m a y , h o w e v e r , be a relatively late p r a c t i c e . T h e r e are s e v e r a l i n d i c a t i o n s t h a t at a n e a r l i e r t i m e s o l o i s t a n d c h o i r b o t h s a n g t h e c o m p l e t e r e s p o n d . A m a l a r i u s o f M e t z , w r i t i n g r.830, r e p o r t e d b o t h t h e R o m a n a n d t h e F r a n k i s h p r a c t i c e o f h i s t i m e ( e d . H a n s s e n s , i i i . 55). T h e R o m a n s , h e says, s a n g r e s p o n s o r i e s as f o l l o w s : Praecantor: Respond Succentores: Praecantor: Succentores: Praecantor: Respond Verse Respond Gloria

Succentores: R e s p o n d second part

Praecantor: Succentores:

Respond Respond

A c c o r d i n g to A m a l a r i u s , t h e G l o r i a h a d b u t r e c e n t l y b e e n a d d e d i n R o m e ( b u t i n O r d o R o m a n u s V I , of t h e e i g h t h c e n t u r y , a F r a n k i s h m o n k s a i d that a l l r e s p o n s o r i e s w e r e s u n g w i t h t h e G l o r i a ) . T h e F r a n k s , o n the o t h e r h a n d , u s u a l l y s a n g o n l y t h e s e c o n d p a r t after t h e v e r s e . ( C o m p l e t e r e p e a t s are n e v e r t h e l e s s c a l l e d f o r o n s o m e o c c a s i o n s i n m o d e r n s e r v i c e - b o o k s . ) A t a n y r a t e , A m a l a r i u s d o e s not s p e a k of a s o l o start a n d c h o i r c o n t i n u a t i o n of the r e s p o n d . T h e c h o i r ' s task is easier if t h e s o l o i s t has a l r e a d y s u n g t h e r e s p o n d . F u r t h e r m o r e , i n t h e W i n c h e s t e r p o l y p h o n i c s e t t i n g s of t h e late a p p e a r s to be f o r t h e s o l o i s t . T h e s i n g i n g of t h e r e s p o n d p r o c e e d e d a l o n g c l e a r l y u n d e r s t o o d l i n e s . T h e t o n a l i t y ( i n t h i s case m o d e 4) w o u l d be k n o w n , w h i c h b r o u g h t w i t h it n u m e r o u s c o n v e n t i o n s g u i d i n g t h e p e r f o r m a n c e : t h e n o t e s u s e d f o r r e c i t i n g passages w i t h l o n g e r t e x t , h o w to start a n d e n d p h r a s e s , w h i c h i n t e r m e d i a t e g o a l s t o a i m f o r (D at the e n d of t h e p h r a s e , EIF first second and t h i r d ) , w h i c h phrases were o p e n i n g phrases (Oa) and w h i c h figures 10th c e n t u r y t h e w h o l e r e s p o n d

c l o s i n g p h r a s e s ( G l - E l ) . T w o d e c i s i o n s d e p e n d o n a close r e a d i n g of t h e t e x t : h o w m a n y p h r a s e s m u s t be d i s t i n g u i s h e d , a n d w h i c h s y l l a b l e s s h o u l d c a r r y m u s i c a l reserved for accented syllables.

(iv)

Centonization 6 5 0 - 1 ) a n d T r e i t l e r ( 1 9 7 5 ) h a v e w a r n e d us

S t a b l e i n ( ' G r a d u a l e ( G e s a n g ) ' , MGG,

a g a i n s t s e e i n g c o n v e n t i o n a l t u r n s of p h r a s e as fixed e n t i t i e s w h i c h a c o m p o s e r t o o k ' o f f the p e g ' , so to s p e a k , a n d i n s e r t e d at t h e a p p r o p r i a t e m o m e n t . T h e s e are n o t (to a d o p t another m o d e r n analogy) 'identikit' c o m p o s i t i o n s , put together from pre-existing 3), follows s e g m e n t s . T h e m u s i c of e a c h r e s p o n s o r y is a n e w c r e a t i o n , w h i c h , b y v i r t u e of t h e f a c t that it is a r e s p o n s o r y (and not, say, a g r a d u a l ) a n d i n m o d e 4 (not categories. c o n v e n t i o n s a p p r o p r i a t e to t h o s e

T h e t e r m ' c e n t o ' has o f t e n b e e n u s e d to d e s c r i b e the m u s i c a l m a k e - u p of t h e s e c h a n t s . T h e L a t i n w o r d w a s c o m m o n l y u s e d i n R o m a n t i m e s to m e a n a g a r m e n t m a d e of s e v e r a l p i e c e s sewn together, a patchwork. B u t it also h a d a s p e c i a l literary It m e a n i n g , b e i n g u s e d as t h e t i t l e of a p o e m m a d e u p f r o m verses of o t h e r p o e m s . u s e d it to d e s c r i b e the w o r k of S t Gregory himself:

s e e m s to h a v e c o m e i n t o m o d e r n c i r c u l a t i o n b e c a u s e J o h n H y m m o n i d e s ' t h e D e a c o n ' 'Antiphonarium centonem c a n t o r u m s t u d i o s i s s i m u s n i m i s u t i l i t e r c o m p i l a v i t ' ( P L 7 5 , 9 0 ) . If w e u n d e r s t a n d t h e e x p r e s s i o n i n its l i t e r a r y s e n s e , ' c e n t o a n t i p h o n e r ' d e s c r i b e s v e r y w e l l t h e t e x t s s u n g i n t h e l i t u r g y . T h r e e of t h e f o u r r e s p o n s o r i e s j u s t d i s c u s s e d h a v e t e x t s s e l e c t e d a d a p t e d f r o m A c t s 6 a n d 7 : I g i v e h e r e t h e V u l g a t e t e x t s , p r i n t i n g the c h a n t i n c a p i t a l s . T h e c h a n t a d d s o t h e r w o r d s as w e l l , a n d a d a p t s o t h e r s , for and excerpts example

t h r o u g h different conjugational endings, hence the half-capitalized w o r d s here.

A c t s 7: 5 8 - 9 : E t L A P I D A B A N T S T E P H A N U M

INVOCANTEM E TDICENTEM:

'DOMINE

JESU,

SUSCIPE
'Domine,

SPIRITUM

MEUM.'

Positis

autem

genibus, clamavit voce

magna,

dicens:

N E S T A T U AS I L L I S H O C

PECCATUM.'

A c t s 6 : 1 5 : E t iNTUEntes eum O M N E S , Q U I sedebant I N C O N C I L I O , viDErunt faciem E I U S

TANQUAM FACIEM ANGELI.

A c t s 7: 5 5 : C u m autem esset plenus S p i r i t u sancto, iNTEndens I N C A E L U M ,

FILIUM HOMINIS STANTEM ADEXTRIS D E I . '

VIDIT

G L O R I A M D E I , et J e s u m stantem a dextris D e i ; E T A I T : ' E C C E , V I D E O C A E L O S A P E R T O S E T

A t least some of these words are actually read as lessons d u r i n g the office. The use of conventional turns of phrase in singing these texts seems rather different, a procedure for which the term 'cento' is not really appropriate. T h e s e are neither pre-composed scraps to be sewn into place, nor quotations of an already existing composition.

H a v i n g come so far, we still do not know how the first decisions of all were taken, that is, how it was decided that this particular matrix of musical material, one of the mode 4 complexes, was the right one for these particular texts. It is conceivable that one piece led to another, for the close proximity of these four in the liturgy is surely not accidental. O t h e r bunches of responsories linked both by musical similarity and b y liturgical proximity may easily be picked out of Frere's tables, for example those using Frere's St 'theme a' in mode 2, i n Passiontide, the summer Histories, and for Laurence ( A S , Introduction, 7). Nevertheless, of the earliest stages of text

selection and mode of performance we have no detailed knowledge. T h e r e is perhaps a natural tendency to regard those responsories which use conventional turns of phrase as relatively o l d , those which are more independent as more recent in date. O n e associates a simple system with beginnings, deviations as later decadence. B u t our knowledge of the musical shape of the responsories dates only from the end of the tenth century, the date of the earliest notated antiphoners (the M o n t - R e n a u d manuscript, P a l M u s 16, and the antiphoner copied by Hartker of St G a l l , St G a l l 390-391, P a l M u s I I / l ) . Independent melodies occur even amongst the earliest attested pieces. T o some extent comparison of the sources brings out different chronological layers. O n this basis Frere d i d not hestitate to assign pieces to the ages of gold (ending soon after the time of St G r e g o r y ) , silver (up to the tenth century), bronze, and clay. Later responsories occasionally have new music for their verses. Frere's theme a in mode 2 ( A S , Introduction, 5 f f . ; A p e l 1958, 332 ff.) and his theme a in mode 8 ( A S , 52 f f . ; A p e l , 337 ff.) are two ways of singing responsories which deserve a designation other than 'matrix of musical material'. S o many chants use them in such similar ways that they might well be called melodies. E v e n so, there are deviations from the commonest patterns. A p e l actually divides the mode 8 group into four sub-groups. O n e must also remember that these 'melodies' have been identified as such not because of their melodic characteristics but because they have

been

adapted

for several different texts. T h e y

s t a n d , i n fact, near one e n d of a

seamless c o n t i n u u m between similarity and d i s s i m i l a r i t y . (v) Melismas

T h e g r e a t r e s p o n s o r i e s of t h e N i g h t O f f i c e are g e n e r a l l y m u c h less m e l i s m a t i c t h a n t h e g r a d u a l s a n d t r a c t s of m a s s . I n the earliest m u s i c a l s o u r c e s t h e g r a d u a l s i n p a r t i c u l a r a l r e a d y h a v e l o n g m e l i s m a s o n s i n g l e s y l l a b l e s , a n d t h e s e are g e n e r a l l y a b s e n t f r o m r e s p o n s o r i e s . T h o s e w h i c h d o a p p e a r are n o t p r e s e n t i n a l l s o u r c e s , o r ' w a n d e r ' f r o m o n e r e s p o n s o r y to a n o t h e r , o r e n t e r the w r i t t e n t r a d i t i o n at a r e l a t i v e l y late s t a g e . F o r this reason I h a v e c o n s i d e r e d it best to d i s c u s s t h e m as m e l o d i c a d d i t i o n s t o and placed t h e m w i t h the sections .iv). the on e a r l i e s t r e c o v e r a b l e state of t h e r e s p o n s o r i e s , t r o p e s (see 11.23

II.5. (i) (ii) (iii) (iv) (v) (vi) (vii) Introduction

G R A D U A L S

A N D

T R A C T S

G r a d u a l s i n a : T h e 'Iustus ut p a l m a ' G r o u p Graduals in F Other Graduals Tracts Tracts in M o d e 2 Tracts in M o d e 8

On graduals: S t a b l e i n , ' G r a d u a l e (Gesang)', MGG; H u c k e 1955, ' G r e g o r i a n i s c h e r ' , 1956, ' G r a d u a l (i)', A G On tracts: H a n s S c h m i d t 1957, 1958; H u c k e 1967, ' T r a c t ' , A G ; N o w a c k i 1986; K a i n z b a u e r 1991. (i) Introduction m o r e ornate chants than responsories, b u t m u c h of the

G r a d u a l s a n d t r a c t s are s h a r i n g the same m e l o d y .

m e l o d i c e m b e l l i s h m e n t is s t y l i z e d , a n d t h e y m a y m o r e e a s i l y be c l a s s i f i e d i n f a m i l i e s T h e y c a n b e d i v i d e d i n t o d i s t i n c t t o n a l g r o u p s . I n S t a b l e i n ' s list of t h e 115 g r a d u a l s i n the earliest sources ('Graduale 15 11 46 15 24 are e v e n m o r e selective: (Gesang)', MGG) t h e y b r e a k d o w n as f o l l o w s , doubt): a c c o r d i n g to final ( o m i t t i n g f o u r cases w h e r e S t a b l e i n r e g i s t e r s D (mode 1 only) E ( m o d e s 3 a n d 4) F (mode 5 only) G ( m o d e s 7 a n d 8) a ( ' m o d e 2') H u c k e , ' T r a c t ' , NG)

O n l y t h e g r a d u a l has s u c h a h i g h p r o p o r t i o n of p i e c e s i n t h e F m o d e . T r a c t s ( l i s t e d i n

I) (mode 2 only) G (mode 8 only)

6 15 but with a

Apart f r o m their different musical materials, graduals and tracts are performed in a different way. G r a d u a l s were sung like the great office responsories, complete repeat of the respond after the verse. sometimes Tracts were throughout (a practice referred to as 'direct expositio sung by soloists

psalmody'), without any

section repeats. Amalarius of M e t z (Ordinis ?nissae I, 6; e d . Hanssens, i i i . 302), writing about 830, reports that in the gradual there was a full performance of the respond by soloists, repeated in full by the choir. T h i s seems to be supported b y the copies in early cantatoria (books containing only the soloists' chants), where they are notated in f u l l . B y the beginning of the eleventh century, Oxford, however, similar books (such as Bodleian L i b r a r y , Bodley 775) give only the first word of the respond,

i m p l y i n g that the soloist simply intones the opening, the rest being sung by the choir. Later still the choir was allowed to sing the closing w o r d or two of the verse, the practice set out in m o d e r n Solesmes/Vatican books. W e know this, for example, through the polyphonic gradual settings from Paris i n the twelfth and thirteenth centuries, where only the soloist's parts are set in p o l y p h o n y .

(ii) Graduals

in a: The 'Iustus

utpalma*

Group

T h e most closely unified group of graduals throws up some interesting questions. T h i s is the family w h i c h includes Iustus utpaima, made famous b y its presentation in over 200 facsimiles in P a l M u s 2 and tabulated there by M o c q u e r e a u , b y S u n o l (1935, fold-out), Ferretti (1938, 165), and Ribay (1988). Six of them are sung d u r i n g the E m b e r Week of A d v e n t . Both respond and verse of these graduals end on a. order to avoid writing low Hb and both /*' and This pitch is usually reckoned as representing an upward transposition of a fifth f r o m D (in

/*1f), and the group

is thus usually

assigned to the second mode. T h e awkwardness of classification indicates that we have here a body of chant which was composed before (and therefore disregards) the eightmode system. Ex. II.5.1 is a transcription of Tecum pyincipium V . Dixit dominus f r o m the Aquitanian manuscript Paris, Bibliotheque Nationale, lat. 776. I have marked the individual phrases with the labels given by A p e l (1958, 360), whose tables provide a convenient way of surveying the musical make-up of the gradual repertory. principium palma' family. In the respond, the first and last phrases ( A l a n d A 3 ) are those of practically all others i n the family. ( A 3 was so well known that the scribe d i d not trouble to write it out in f u l l : it is completed here from the first gradual of the year with this melody, Tollite portas.) Most graduals have only one phrase between these two, either A 2 or dies, however, has a different F l ; both appear here, with a linking phrase c l . Haec opening phrase ( A 4 ) , then c l , F l , and A 3 . Tecum conveniently includes nearly all the musical material of the 'Iustus ut

78

//.

Chant

Genres
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( P a n s , B i b l . N a t . lat. 776, f o . 12 ) b

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rum.

I n t h e v e r s e , a l l b u t a h a n d f u l o f g r a d u a l s h a v e t h e first p h r a s e g i v e n h e r e , D 1 0 . T h e o t h e r s h a v e a d i f f e r e n t D - p h r a s e , so t h a t t h e t o n a l d i r e c t i o n o f t h e m e l o d y w a s a l w a y s t h e s a m e . T h e s e c o n d p h r a s e , A 1 0 , is also p r a c t i c a l l y a l w a y s t h e s a m e . F o r some verses, n o m o r e phrases were r e q u i r e d , a n d the final i n v a r i a b l e A 1 2 c o n c l u d e d t h e p i e c e . M o s t are f o u r - p h r a s e v e r s e s , h o w e v e r , a n d here o n e of t h e t w o F - p h r a s e s w a s e m p l o y e d : Tecum principium has F l , w h i c h has a l r e a d y b e e n h e a r d i n t h e r e s p o n d . F l w a s g e n e r a l l y e m p l o y e d w h e n a fifth p h r a s e , C I O , w a s also p r e s e n t , as h e r e ; o t h e r w i s e F 1 0 w a s p r e f e r r e d . J u s t o c c a s i o n a l l y C I O is p r e s e n t w i t h o u t a n F p h r a s e t o f o l l o w . T h e d o u b l e u s e of F l g o e s h a n d i n h a n d w i t h t h e fact t h a t A 1 2 at t h e e n d of t h e v e r s e is s i m i l a r t o A 3 at t h e e n d o f t h e r e s p o n d , a n d c l i n t h e r e s p o n d e n d s e x a c t l y l i k e C I O i n t h e v e r s e . T h e o v e r a l l f o r m is t h e r e f o r e s o m e t h i n g l i k e A B C B (repeat of r e s p o n d A B a g a i n ) .

T h e ways in w h i c h the melody was used for this particular text, Tecum f o u n d only for two other graduals with similarly long o p e n i n g phrases, In ten-am and Ne avertas. (Exsultabunt sancti,

principium, omnem

are typical. T h e first phrase of text is exceptionally long, and thus is adapted in a way by contrast, is exceptionally short and is

therefore sung to yet another adaptation of the ' n o r m a l ' f o r m . ) It is interesting that instead of simply repeating a reciting note to cope with the extra syllables, a different melodic excursion was included (extending roughly from '-pium' to Virtu-'). Elsewhere repeated notes were indeed e m p l o y e d , for the n u m b e r of syllables is not excessive: a and c in the respond, d, c, and lastly a in the verse. A 3 and A 1 2 begin with accented syllables, and here an unaccented preliminary F was sometimes sung. It might be supposed that the melody is so constant because the phrases of text are all short (with the exception of the first), so that there was little need for variation, or because the melody is so ornate, necessitating careful regulation of detail. Y e t on the one hand the text phrases in responsories are similarly brief, and o n the other hand other graduals are similarly ornate but not so u n i f o r m in m e l o d y . F o r various reasons the 'Iustus ut palma' graduals have been regarded as very o l d : their u n i f o r m i t y , in which they display a similarity to the technique of singing tracts, w h i c h were also believed to be ancient; their use on days of long standing in the c h u r c h year. O n the other hand, H u c k e has argued that the fashion for this melody might be relatively recent. A few of its characteristic turns of phrase can also be f o u n d in other graduals (compare C I O with C 1 2 in the F - m o d e g r o u p , F 1 0 with F 1 7 in the F - m o d e group and F10 in the D - m o d e group). H u c k e thinks this is because phrases f r o m the newly popular melody were taken into the singing of older graduals. T h e argument cuts both ways, however, and depends on how exclusive the material for the different melodies or melodic complexes was reckoned to be. I myself incline to agree with H u c k e , for it seems inherently more probable that a new melody might be used to meet a sudden demand for more graduals (perhaps in response to a liturgical and/or musical reform), than that an old and consistent practice should be superseded by something m u c h less regular. But in the absence of firm historical data one cannot be dogmatic. O n e thing is indisputable: the m u c h more ornate surface detail of these and other graduals when compared with the office responsory. M o s t of this solemn splendour is concentrated on melismas for particular syllables, rather than b e i n g distributed evenly. E n d syllables are particularly favoured, whether accented or (more often) not. T h e musical matter is of a peculiar k i n d , reiterating particular notes or decorating them in a seemingly superfluous way. T h e r e is no firm direction to these musical ruminations: they are rather a means of m a k i n g the performance more impressive and ceremonious. Some figures simply revolve around a central tone: ' p r i n c i P I u m ' and ' u t e R O ' . Others move further but return whence they came. T a k e for example the setting of 'die'. T h e melody moves f r o m d to a, but introduces for ornamental effect a palindromic dccaGaccd before finally falling on to a . O n e may regard this either as an ornamentation of d or a double descent to a, but either way the redundancy is clear. T h e same happens on a m u c h larger scale in the verse at 'meo' (twice d o w n to G and back up to e) and 'meis' (twice down to a f r o m e). ' M e i s ' is also interesting because of

the o s c i l l a t i o n b e t w e e n c a n d a i n the m i d d l e . S u c h r e i t e r a t i o n of c t o u c h e s d o w n to a, o f f e r t o r i e s . T h e n o t e s f a v o u r e d f o r r e i t e r a t i o n are c,f, t h e r e i t e r a t i o n , are a l w a y s a m i n o r t h i r d l o w e r : a,

and occasional

are f o u n d not i n g r a d u a l s o n l y , b u t also i n t r a c t s , i n t r o i t s , a n d a n d g , that is, those above the

s e m i t o n e s t e p . T h e o t h e r n o t e s t o u c h e d u p o n , as it w e r e , to p r o v i d e e x t r a i m p e t u s f o r d, a n d e r e s p e c t i v e l y .

( i i i ) Graduals

in

F F.

T h e l a r g e s t g r o u p o f g r a d u a l s to be n o t a t e d i n t h e s a m e m o d e is t h o s e w i t h final o n

T h e m e l o d i c l i n k s b e t w e e n t h e s e g r a d u a l s are m u c h l o o s e r , h o w e v e r , t h a n i n t h e ' I u s t u s u t p a l m a ' g r o u p . O n e has o n l y to s c a n A p e l ' s t a b l e ( 3 4 6 - 7 ) to a p p r e c i a t e t h i s , e s p e c i a l l y i n t h e r e s p o n d s , w h e r e o n l y t h e t r i o Christ us factus Ecce sacerdos are c o n s i s t e n t l y Apel similar. T h e verses are est, Exiit sermo, and to not m o r e easily assignable

f a m i l i e s , b u t o n l y o n e p h r a s e , t h e final o n e ( A p e l ' s F 1 0 ) , is f o u n d a l m o s t t h r o u g h o u t the repertory. discerns eight g r o u p s i n a l l , w i t h several other graduals a s s i g n a b l e to a n y g r o u p . B e t w e e n s e v e r a l g r o u p s t h e r e is a l m o s t n o s i m i l a r i t y at a l l . S o m e g e n e r a l t e n d e n c i e s are n e v e r t h e l e s s w o r t h n o t i n g . O v e r h a l f t h e verses start w i t h a p h r a s e e n d i n g o n a. T h e n e x t p h r a s e is t h e n e i t h e r a n t h e r e s p o n d s t a y s m u c h m o r e c o n s i s t e n t l y i n t h e l o w e r r a n g e F-c. bb a n a-, or a c-phrase. whereas T h e r e are r e g u l a r a s c e n t s t o h i g h / , e v e n g , b e f o r e the d e s c e n t to p h r a s e F 1 0 ,

I n the lower range

a p p e a r s r e g u l a r l y , w h e r e a s bfcj is n o r m a l f o r m o s t of t h e v e r s e . C o r r e s p o n d e n c e of

m u s i c a l m a t e r i a l b e t w e e n r e s p o n d a n d v e r s e is r e s t r i c t e d , w h e n p r e s e n t at a l l , to t h e cadential melisma. A l t h o u g h it is t e m p t i n g t o l o o k f o r a n o t h e r b a s i c m e l o d y , s u c h as t h e ' I u s t u s ut p a l m a ' m e l o d y , at t h e r o o t of t h e g r a d u a l s i n F , it c a n n o t r e a l l y be f o u n d . T h e v a r i e t y o f m a t e r i a l u s e d f o r p e r f o r m i n g these c h a n t s is m u c h g r e a t e r , the correspondences b e t w e e n t h e f a m i l i e s of g r a d u a l s c o n s e q u e n t l y m o r e i n f o r m a l . T h e r e s p o n d s g i v e t h e i m p r e s s i o n of a l m o s t t o t a l l a c k of d e p e n d e n c e u p o n s t a n d a r d t u r n s of p h r a s e . A t t h e same t i m e , one w o u l d not m i s t a k e the pieces for a n y t h i n g b u t g r a d u a l s . F o r a start, F m o d e pieces character are r e l a t i v e l y r a r e i n o t h e r c h a n t noticed permeates nostra these genres. Secondly, as well. the ornamental more already graduals Somewhat

p r o m i n e n t t h a n i n t h e ' I u s t u s u t p a l m a ' g r o u p are r e c i t a t i o n s o n o r a r o u n d o n e n o t e , as i n t h e c l o s i n g p h r a s e s of Anima E x . I I . 5 . 2 . F r o m G r a d u a l Anima fo. 17 )

v

( E x . I I . 5 . 2 ) . T h e final t u r n d o w n to F at t h e figure in

e n d is a l m o s t p e r f u n c t o r y , m a d e b y u s i n g t h e o n l y o t h e r c o m m o n c a d e n c e

nostra V . Eaqueus contritus est (Paris, B i b l . N a t . lat. 776,

l
I

et nos l i - b e - r a -

-ti

su-

-mus

h ad-iu-to-ri-um

* no-

"

"
do-

'

-mi-ni

* '

-strum in no-mine

qui fecit celum et

ter -

ram.

t h e s e g r a d u a l s ( A p e l ' s f l l , f o u n d also at t h e e n d o f t h e r e s p o n d ) . ( T h e m a n u s c r i p t h a s n e i t h e r clefs n o r c o l o u r e d lines, a n d consequently does n o t d i s t i n g u i s h the s e m i t o n e s t e p i n t h e s c a l e . I h a v e a s s u m e d bbs b y a n a l o g y w i t h o t h e r manuscripts.)

(iv)

Other

Graduals

T h e r e are other s m a l l e r g r o u p s of graduals i n D , E , a n d G . T h e D - m o d e g r a d u a l s r e s e m b l e t h e F - m o d e o n e s i n t h a t t h e i r verses r e s e m b l e e a c h o t h e r m o r e c l o s e l y t h a n t h e i r r e s p o n d s , a n d also m o v e i n a g e n e r a l l y h i g h e r r a n g e t h a n t h e r e s p o n d s . T h e E a n d G - m o d e g r a d u a l s , o n t h e o t h e r h a n d , are m o r e l o o s e l y r e l a t e d t o o n e a n o t h e r , a n d t h e i r verses a r e n o t m u c h c l o s e r r e l a t e d t h a n t h e r e s p o n d s . I n a l l t h e s e g r a d u a l s , t h e n , one h a s t h e f e e l i n g that t h e singers were expected to range freely through the a p p r o p r i a t e m a t e r i a l , e x e r c i s i n g their art w i t h a degree o f f r e e d o m n o t detectable i n the 'Iustus ut p a l m a ' g r o u p o r i n the tracts shortly to be d i s c u s s e d . O n c e again m a n y h a l l m a r k s of g r a d u a l s are present, b u t t h e m e l o d i c gestures d o n o t appear w i t h s u c h r e g u l a r i t y . T h e s t r i k i n g m e l i s m a o f E x . II. 5.3., w h e r e t h e m e l o d y s e e m s t o g o i n t o s u s p e n d e d a n i m a t i o n , is f o u n d i n o n l y f o u r g r a d u a l s , i t s f i n a l p h r a s e i n o n l y t w o ( b u t t h e last s i x n o t e s a r e a c o m m o n w a y o f c a d e n c i n g o n G i n m a n y c h a n t E x . I I . 5 . 3 . F r o m G r a d u a l Exaltabo 54 )
v

genres).

te V . Domine Deus mens (Paris, B i b l . N a t . lat. 776, f o .

sal - ua - sti me

T h e p h r a s e g i v e n i n E x . II.5.3 i n c l u d e s s o m e r e p e a t e d f i g u r e s ( s h o w n b y b r a c k e t s ) , b u t s u c h c l o s e d f o r m s a r e r a r e i n g r a d u a l s . T h e y a r e e v e n r a r e r i f w e set a s i d e examples i n this omnes floating, r e i t e r a t i v e m a n n e r . Clamavemnt iusti has two very m o b i l e Viderunt m e l i s m a s i n its verse, o n e w i t h repeat s t r u c t u r e A A B B C , o n e u n p a t t e r n e d . has a n example w i t h A A B f o r m i n its verse.

S u c h patterned melismas are

c o m m o n i n alleluias, a n d are generally u n d e r s t o o d t o be a r e l a t i v e l y late d e v e l o p m e n t . W e h a v e r a t h e r l i t t l e e v i d e n c e a b o u t t h e age o f t h e m u s i c o f t h e g r a d u a l s , as i s i n d e e d t h e case w i t h m o s t c h a n t s f o r t h e p r o p e r o f m a s s as i t a p p e a r s i n t h e o l d e s t m u s i c m a n u s c r i p t s . H u c k e h a s s u g g e s t e d t h a t t h e latest o f t h e E - m o d e g r a d u a l s m a y b e Iuravit dominus, s u n g o n a n u m b e r o f feasts i n t r o d u c e d i n t o t h e R o m a n k a l e n d a r i n t h e s e c o n d q u a r t e r o f t h e s e v e n t h c e n t u r y : n o g r a d u a l f o r a feast i n t r o d u c e d l a t e r than this has an E - m o d e m e l o d y . T h e i m p o r t a n t F a n d a m e l o d i e s w o u l d t h e n b e later t h a n t h i s . I t w o u l d n e v e r t h e l e s s b e o v e r - o p t i m i s t i c t o b e l i e v e t h a t t h e m e l o d i e s as w e have t h e m f r o m t h e n i n t h c e n t u r y were s u n g i n q u i t e that w a y t w o c e n t u r i e s earlier. T h e k n o w n versions m u s t be the result of a l o n g process of s t y l i z a t i o n , a d j u s t m e n t to c h a n g i n g c i r c u m s t a n c e s ( n o t least t h e l e a r n i n g of R o m a n c h a n t b y t h e F r a n k s ) , a n d , i f H u c k e is right, cross-fertilization f r o m other families of melodies.

(v)

Tracts

A s already m e n t i o n e d , tracts are s u n g b y a soloist o r s m a l l g r o u p of soloists, a n d i n c l u d e n o r e t u r n t o a p r e v i o u s r e s p o n d o r o t h e r r e f r a i n s e c t i o n . T h e y also several verses. Those i n m o d e 8 h a v e u p t o five v e r s e s ; d e s i g n a t e d as s u c h i n e a r l y s o u r c e s a r e m u c h l o n g e r : Eripe Deus Deus meus have the three m o d e 2 tracts me ( c o m p o s e d a f t e r t h e has 13, a n d

o t h e r t w o , a c c o r d i n g t o A m a l a r i u s of M e t z ) h a s 11 v e r s e s , Qui habitat

14. T h e t e c h n i q u e of f o l l o w i n g a general p a t t e r n o r m o d e ( i n t h e

s e n s e o f ' m a n n e r ' , ' w a y ' ) o f s i n g i n g a v e r s e w h i c h w e h a v e a l r e a d y s e e n i n t h e case of o f f i c e r e s p o n s o r i e s a n d g r a d u a l s i s also p r a c t i s e d h e r e , b u t n o w t h e c o r r e s p o n d e n c e s m a y b e o b s e r v e d n o t s i m p l y b e t w e e n d i f f e r e n t t r a c t s b u t b e t w e e n d i f f e r e n t v e r s e s of the same tract. Since w i t h i n the t w o tonal families they display considerable regularity o f t e c h n i q u e , t h e y h a v e b e e n f a v o u r i t e s u b j e c t s f o r d i s c u s s i o n of c e n t o n i z a t i o n ( a t e r m now d i s c r e d i t e d ) o r , better, the d e v e l o p m e n t of ways of s i n g i n g elaborate chants i n Deus t h e a b s e n c e o f w r i t t e n m u s i c (see e s p e c i a l l y T r e i t l e r 1 9 7 4 , ' H o m e r ' , w h e r e Deus w i t h the a i d of A p e l ' s tables. T h e t w e n t y - o n e tracts i n t h e earliest sources c o m p r i s e the f o l l o w i n g g r o u p s : eleven m o d e 8 t r a c t s w i t h p s a l m t e x t s ; f o u r m o d e 8 c a n t i c a s u n g at t h e P a s c h a l V i g i l ; m o d e 2 t r a c t s w i t h p s a l m t e x t s ; t h r e e m o d e 2 t r a c t s d e s i g n a t e d as g r a d u a l s . T h e first t h r e e c a n t i c a o f t h e P a s c h a l V i g i l h a v e t e x t s w h i c h f o r m a s e q u e n c e w i t h the lessons of this u n u s u a l mass c e r e m o n y much shorter than those of the other (see a b o v e , I.8.v); they m a y even be Sicut ceiuus, r e g a r d e d as ' s u n g l e s s o n s ' ( r a t h e r t h a n s i m p l y i n t o n e d o n e s ; of c o u r s e t h e i r t e x t s are lessons). T h e fourth tract, a c c o m p a n i e s a s o l e m n p r o c e s s i o n to the f o n t . T h e three tracts called graduals i n early manuscripts were p r e s u m a b l y p e r f o r m e d l i k e g r a d u a l s , t h a t i s , w i t h t h e first verse r e p e a t e d as a r e s p o n d a f t e r e a c h subsequent v e r s e . T h i s s e e m s t o h a v e h a d a n i n t e r e s t i n g e f f e c t o n t h e i r use o f c a d e n c e f o r m u l a s : o n e p a r t i c u l a r f o r m u l a ( A p e l ' s D n ) is u s u a l l y r e s e r v e d f o r t h e last c a d e n c e of a l l , b u t i n t h e s e t h r e e p i e c e s i t is also u s e d f o r e a r l i e r v e r s e s . T h i s i s p r e s u m a b l y b e c a u s e t h e c a d e n c e o f t h e first v e r s e , o f t h e r e s p o n d , w a s n o w t h e final o n e ( D 1 5 ) ; t h e r e w a s n o l o n g e r a n y n e e d t o r e s e r v e D n f o r s i g n a l l i n g t h e e n d of t h e p e r f o r m a n c e . three

meus a n d o t h e r t r a c t s a r e u s e d f o r i l l u s t r a t i o n ) . A s u s u a l , o n e m a y find o n e ' s b e a r i n g s

(vi)

Tracts

in Mode

A s m a y e a s i l y b e s e e n f r o m A p e l ' s t a b l e , five o f t h e m o d e 2 t r a c t s f o l l o w t h e s a m e g e n e r a l p a t t e r n i n m o s t o f t h e i r v e r s e s . (De necessitatibus sections, cadencing o n D , C , F uses s o m e t u r n s o f p h r a s e characteristic of the g r o u p , b u t does not f o l l o w the pattern.) T h e y u s u a l l y have four
y

a n d D r e s p e c t i v e l y . W i t h i n t h e s e g u i d e - l i n e s t h e r e is

n e v e r t h e l e s s c o n s i d e r a b l e v a r i e t y of m u s i c a l m a t e r i a l . A l l e n d t h e last v e r s e i n t h e s a m e w a y ; at t h e start of t h e first v e r s e , t h e r e a r e t w o d i f f e r e n t o p e n i n g p h r a s e s . B u t t h e o p e n i n g phrases f o r other verses, D - p h r a s e s that is,

n u m b e r n o less t h a n t e n ; Deus

Deus

meus a l o n e h a s e i g h t d i f f e r e n t o n e s ; t o b e f a i r ,

D 1 0 u s u a l l y f u n c t i o n s as a p r e l i m i n a r y p h r a s e b e f o r e D 5 . T h e s e c o n d s e c t i o n is less v a r i a b l e , t h o u g h f r e q u e n t l y o n l y a c a d e n c e f o r m u l a f r o m t h e s t a n d a r d p h r a s e is h e a r d i n i t s c a d e n c e s ; t h e r e a r e t w o a l t e r n a t i v e p h r a s e s . M o s t constant of a l l is t h e F - p h r a s e , w i t h n o r e g u l a r a l t e r n a t i v e s , t h o u g h s o m e Deus meus, Qui habitat, within a n d Eripe me, the other used i n indicated, is small Domine quite F, d e v i a t i o n s . F o r t h e last p h r a s e , e n d i n g o n D, t h e r e a r e f i v e m a i n f o r m u l a s , f o u r of t h e m u s e d i n Deus audivi The a n d Domine variety of exaudi. procedure, the tonal guide-lines

r e m a r k a b l e , a n d i t is c l e a r t h a t t h e s e t r a c t s w e r e n o m o r e b o u n d i n a s t r a i t - j a c k e t t h a n o t h e r c h a n t s . T h i s i s s h o w n b y t h e fact t h a t n o c o m b i n a t i o n o f t h e v a r i o u s D, C, and D phrases appears identically i n more than one verse. (If w e reduce the

r e q u i r e m e n t s s i m p l y to cadence f o r m u l a s , a f e w i d e n t i c a l sequences d o e m e r g e , b u t t h e y are s t i l l r e m a r k a b l y r a r e . ) ( v i i ) Tracts in Mode 8

T h e e l e v e n t r a c t s a n d f o u r c a n t i c a i n m o d e 8 d o n o t d i s p l a y t h e r e g u l a r s u c c e s s i o n of cadence points seen i n the m o d e 2 tracts. Practically a l l o p e n i n g a n d c l o s i n g phrases h a v e G - c a d e n c e s , a n d u s u a l l y t h e r e is a n F - c a d e n c e s o m e w h e r e b e t w e e n . F o r s o m e verses t w o F - p h r a s e s s u f f i c e , t h r e e G - c a d e n c e s are s o m e t i m e s f o u n d , o n c e f o u r G c a d e n c e s , w i t h o u t a n y F c a d e n c e s at a l l . T h e n u m b e r o f d i f f e r e n t G - a n d F - p h r a s e s is r e s t r i c t e d , m o r e s o t h a n i n t h e o t h e r tracts. S e t t i n g aside the i n v a r i a b l e c l o s i n g G - p h r a s e f o r the v e r y e n d of t h e tract, one m a y s u m m a r i z e A p e l ' s t a b l e as f o l l o w s : 5 G - p h r a s e s f o r t h e start o f t h e t r a c t , of w h i c h o n l y o n e is u s e d m o r e t h a n t w i c e ; 9 o t h e r G - p h r a s e s , o f w h i c h o n l y t h r e e are u s e d m o r e t h a n t h r i c e ; o n e o f t h e m ( A p e l ' s G l ) o p e n s v e r s e s , a n o t h e r ( G 2 ) u s u a l l y c l o s e s t h e m , o r a p p e a r s as a p e n u l t i m a t e p h r a s e i n t h e v e r y last v e r s e of t h e t r a c t ; 4 F'-phrases; Commovisti. 1 r - p h r a s e , a h i g h - r a n g i n g m e l i s m a u s e d at t h e s t a r t o f t w o v e r s e s i n set. E x . I I . 5 . 4 is t h e t r a c t f o r Q u i n q u a g e s i m a S u n d a y , Iubilate domino, a s e t t i n g of verses f r o m P s . 9 9 . W h e n t h e p s a l m w a s s u n g d u r i n g t h e N i g h t O f f i c e t h e d i v i s i o n of verses w o u l d u s u a l l y h a v e b e e n s o m e w h a t d i f f e r e n t ( t h e t e x t w o u l d a l s o h a v e b e e n that o f t h e s o - c a l l e d G a l l i c a n p s a l t e r , r a t h e r t h a n t h e o l d e r t r a n s l a t i o n u s e d h e r e ) . Verse 3 w o u l d r u n f r o m ' S c i t o t e ' to ' n o n ipsi n o s ' . B u t here there is a s h o r t verse 3 a n d a longer verse 4. T h e source here t r a n s c r i b e d , P a r i s , B i b l i o t h e q u e N a t i o n a l e , lat. 776, indicates n o break b e t w e e n verses 2 a n d 3, b u t i n v i e w of the u s u a l f u n c t i o n of phrase G 2 as a v e r s e - t e r m i n a t o r , I h a v e m a d e t h e b r e a k i n d i c a t e d i n o t h e r s o u r c e s . W e can speculate about the w a y chosen for s i n g i n g this tract. A b o u t the first a n d last p h r a s e s t h e r e c a n h a v e b e e n l i t t l e p a u s e f o r c o n s i d e r a t i o n , f o r t h e s e w e r e t h e m o s t

W i t h i n the g r o u p , the cantica for the Paschal V i g i l f o r m a p a r t i c u l a r l y homogeneous

84 E x . I I . 5 . 4 . T r a c t Iubilate S* v.i
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c o n v e n t i o n a l p a r t s of t h e c h a n t . S i n c e t h e first verse w a s d i v i d e d i n t o f o u r p h r a s e s , it w o u l d b e a p p r o p r i a t e to m o v e to a n F - c a d e n c e n e x t , a n d b e c a u s e the text is v e r y s h o r t ( o n l y t w o w o r d s ! ) F 2 is b e t t e r t h a n t h e l o n g e r F l . F o r a p a i r of s h o r t G - p h r a s e s , G 4 4- G 3 is o f t e n u s e d , G 3 b e i n g a t e r m i n a l p h r a s e . T h e y c o m e r o u n d a g a i n f o r v e r s e 3 . V e r s e 2 , o n t h e o t h e r h a n d , h a s t w o l o n g e r p h r a s e s , so G l 4- G 2 is p r e f e r r e d . I n f a c t G4 is s i m i l a r to G 2 , t h e first latter h a v i n g a l o n g e r e n d - m e l i s m a i n k e e p i n g w i t h its terminal function. The p h r a s e of v e r s e 3, ' S c i t o t e q u o d d o m i n u s ' , is s h o r t e r t h a n T n t r a t e i n c o n s p e c t u e i u s ' i n v e r s e 2, b u t n o t yet as s h o r t as ' s e r v i t e d o m i n o ' i n verse 1. T o c o p e w i t h ' S c i t o t e ' t h e o p e n i n g of G 2 is b r o u g h t i n t o p l a y . T h e m e l i s m a at the e n d of t h e verse, in phrase G3, is usually an end-melisma, but is occasionally split to a c c o m m o d a t e u n a c c e n t e d s y l l a b l e s , as h e r e a n d i n v e r s e 1. T h e last v e r s e c o u l d h a v e s t a r t e d w i t h t h e p o p u l a r p a i r of p h r a s e s G l 4- F l , w e r e t h e text n o t t o o s h o r t o n t h i s o c c a s i o n . I n a n y case, o v e r h a l f t h e t r a c t s h a v e u n i q u e m u s i c at t h i s p o i n t , b e f o r e u s i n g s t a n d a r d c l o s i n g p h r a s e s . A t t h e h a l f - v e r s e , f o r t h e

m e l i s m a o n t h e s e c o n d ' n o s ' , a c o n v e n t i o n a l c a d e n t i a l f o r m u l a is u s e d , a l r e a d y h e a r d i n v e r s e 1 i n a s i m i l a r p o s i t i o n . T h e last m e l i s m a of a l l w a s so w e l l k n o w n t h a t it w a s n o t c o p i e d o u t i n f u l l b y the s c r i b e of t h e s o u r c e u s e d h e r e : it is c o m p l e t e d f r o m t h e t r a c t of t h i s f a m i l y f o r t h e p r e c e d i n g S u n d a y , Commovisti. W i t h rare e x c e p t i o n s , these tracts m o v e i n a v e r y r e s t r i c t e d r a n g e , h a r d l y e x c e e d i n g t h e s i x t h b e t w e e n F a n d d. S o m e c o u l d e a s i l y b e c l a s s e d i n m o d e 7 . T h e y l a c k s o m e of the s p l e n d o u r of t h e g r a d u a l s , f o r i n t e r n a l m e l i s m a s are rare a n d the p u l s a t i n g their r e i t e r a t i o n s of a s t r u c t u r a l l y i m p o r t a n t t o n e are l a r g e l y a b s e n t . B e c a u s e of p o i n t i n g to i n t o n a t i o n s a n d r e c i t a t i o n s , down to some sort of b a s i c tone, flexes

p r o c e d u r a l c o n s i s t e n c y s e v e r a l w r i t e r s h a v e seen s i m i l a r i t i e s w i t h s i m p l e p s a l m t o n e s , a n d m e d i a n t s , a n d so o n . S u c h a n the tract as the result of h i s t o r i c a l a n a l o g y s h o u l d not be pressed too far, for t h e n the t e m p t a t i o n arises to s t r i p the m u s i c a n d see d e v e l o p m e n t o u t of i m a g i n e d s i m p l e b e g i n n i n g s . T h e s e are n o t ' v a r i a t i o n s u p o n a t h e m e ( i n G o r i n D ) ' f o r t h e r e is n o p r e - e x i s t i n g t h e m e , a n d t h e l e v e l of d e c o r a t i o n , t h e d e g r e e of s o l e m n i t y , m i g h t h a v e b e e n a n e s s e n t i a l p a r t o f t h e t r a c t f r o m t h e s t a r t . T h e c o n v e n t i o n s of a r t i c u l a t i o n ( s t a r t i n g p h r a s e s , t e r m i n a l m e l i s m a s ) are a n a t u r a l r e s p o n s e t o t h e n e e d to m a r k o f f t h e m a j o r b r e a k s i n t h e t e x t , f o u n d i n v e r y m a n y chant genres a n d not necessarily d e r i v i n g f r o m s i m p l e p s a l m o d y . T h e tonality a n d r a n g e p r o v i d e d a m u s i c a l f r a m e of r e f e r e n c e , a n d p h r a s e s of s i m i l a r l e n g t h a n d b a l a n c e w e r e s u n g i n s i m i l a r w a y s . T h e r e s u l t is a m o d e of d e l i v e r y performance of m u l t i p l e b i b l i c a l texts, flexible e n o u g h for the e n o u g h of a but musically characteristic

p a r t i c u l a r l i t u r g i c a l m o m e n t t o b e r e c o g n i z a b l e f o r w h a t it is a n d f u l f i l i t s p r o p e r liturgical function.

II.6. H u c k e , ' R e s p o n s o r i u m ' , MGG]

S H O R T

R E S P O N S O R I E S 1975. prolixa), much

C l a i r e 1962,

A s w e l l as t h e g r e a t r e s p o n s o r i e s of t h e N i g h t O f f i c e ( t h e responsoiia s h o r t e r r e s p o n s o r i e s (responsoria brevia)

were s u n g after the short lesson ( c a p i t u l u m ,

c h a p t e r ) of t h e L i t t l e H o u r s ( P r i m e , T e r c e , S e x t , N o n e , a n d C o m p l i n e ) . I n m o n a s t i c use a s h o r t r e s p o n s o r y w a s s u n g a f t e r t h e s h o r t l e s s o n o f L a u d s a n d V e s p e r s as w e l l . T h e r e p e r t o r y is s m a l l , f o r s i n g l e r e s p o n s o r i e s d i d d u t y f o r w h o l e s e a s o n s of t h e y e a r , a n d r a t h e r f e w feasts h a d p r o p e r o n e s . I n m o s t c h u r c h e s , v e r y f e w m e l o d i e s s e e m to have been u s e d , t h o u g h some sources have m o r e , florid v e r s i o n s of t h e u s u a l s i m p l e m e l o d i e s , n e w l y c o m p o s e d o n e s , o r m e l o d i e s a d a p t e d f r o m g r e a t r e s p o n s o r i e s (see, f o r e x a m p l e , t h e W o r c e s t e r a n t i p h o n e r ( P a l M u s 12), a n d t h e N e v e r s m a n u s c r i p t P a r i s , B i b l i o t h e q u e N a t i o n a l e , n o u v . a c q . l a t . 1235 c o n s u l t e d b y W a g n e r ( I I I , 2 1 7 - 2 3 ) . N o s u r v e y of the r e p e r t o r y is a v a i l a b l e . T h e c o n v e n t i o n s f o r s i n g i n g t h e d o x o l o g y are o b s c u r e : s o m e s o u r c e s c o n t a i n n o c u e s at a l l ; o t h e r s p e c i f y G l o r i a s o f d i f f e r i n g l e n g t h (for e x a m p l e , u p to 'sancto', o r ' s e m p e r ' ) . The m u s i c a l s t y l e of m o s t short responsories is v e r y s i m p l e , c h i e f l y s y l l a b i c ,

c o n s i s t i n g of m e l o d i c f o r m u l a s w h i c h are e a s i l y a d a p t a b l e f o r a v a r i e t y of t e x t s . c h o i r r e s p o n d ( o r t h e last p a r t t h e r e o f ) , s o l o d o x o l o g y , c h o i r r e s p o n d .

The

f o r m is t h a t of a l l r e s p o n s o r i a l c h a n t s : s o l o r e s p o n d , r e p e a t e d b y t h e c h o i r , s o l o v e r s e , H u c k e t h o u g h t t h a t t h e m o s t p o p u l a r m e l o d i e s m i g h t b e t h e r e s u l t of a n i n t h c e n t u r y F r a n k i s h r e c e n s i o n . I n o n e sense t h i s is n o d o u b t t r u e , as it is of a l a r g e p a r t of t h e c h a n t r e p e r t o r y , b u t t h e s i m p l i c i t y of t h e m e l o d i e s has e n c o u r a g e d s p e c u l a t i o n t h a t a m u c h o l d e r t r a d i t i o n lies b e h i n d t h e m . A p e c u l i a r i t y o f s o m e of t h e m e l o d i e s is t h a t t h e f o r m u l a u s e d f o r s i n g i n g t h e first p a r t of t h e r e s p o n d is t h e s a m e as t h a t f o r t h e w h o l e of t h e v e r s e . M u s i c a l l y , t h e r e f o r e , it is the s e c o n d p a r t of t h e r e s p o n d w h i c h c o n s t i t u t e s a r e f r a i n . T h i s m a y be seen i n E x . I I . 6 . 1 , a t r a n s c r i p t i o n of t h e first of t h e s h o r t r e s p o n s o r i e s i n t h e L u c c a a n t i p h o n e r ( P a l M u s 9 ) . T h e d o x o l o g y is d i v i d e d i n t o two parts, the first r h y m i n g m u s i c a l l y w i t h t h e first h a l f of t h e r e s p o n d ( a n d the v e r s e ) , t h e s e c o n d w i t h the s e c o n d p a r t of t h e r e s p o n d .

E x . I I . 6 . 1 . Short responsory Super te Ierusalem

( L u c c a , B i b l . C a p . 601, p . 6)

R. Super te Ierusalem

o - r i - e - t u r dominus.

(fa

-fl

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V . Et G l o r i - a pa-tri et H fi-li-o

f-i

L\l *1
ui-debitur.

^
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et spiritu-i sancto.

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~Sicut e-rat in principi-o et nunc et semper et in secula seculorum a-men.

Icn
R. Super te ...

T h e m e l o d y of E x . I I . 6 . 1 w a s t h e u s u a l o n e f o r t h e h a l f of t h e y e a r f r o m A d v e n t o n w a r d . D u r i n g t h e rest of t h e y e a r a s i n g l e F - m o d e m e l o d y i n o n e of t h e W o r c e s t e r a n t i p h o n e r ( P a l M u s 12). (The three d i f f e r e n t v a r i a n t s s u f f i c e d . O n e of these is s h o w n i n E x . 1 1 . 6 . 2 , t r a n s c r i b e d f r o m t h e s e c t i o n of t h e v e r s e ' a l l e l u i a , a l l e l u i a ' is a l w a y s w r i t t e n o u t c o m p l e t e , b u t p r e s u m a b l y one d i d not t h e n r e p e a t t h e s e c o n d h a l f of t h e r e s p o n d . ) O n c e a g a i n t h e t w o p h r a s e s of t h e d o x o l o g y e n d o n t h e s a m e n o t e s as t h e r e s p o n d , t h o u g h h e r e t h e s h o r t e r text is p r e f e r r e d . I n b o t h t h e m e l o d i e s q u o t e d , t h e o v e r a l l f o r m is t h e r e f o r e :

Respond: D o x o l o g y (cadence notes): Respond:

B B B (Worcester, C h a p t e r L i b . F 160, p . 142)

Verse, second part of R e s p o n d : A A

. . .a . . .b

E x . 11.6.2. Short responsory Resnrrex it Dominus

R.

Resurrexit

do-mi-nus

al-le - lu - ia

al-le - lu - ia.

V.

Sic-ut di-xit uo-bis

al-le - lu - ia

al-le - lu - ia.

# Glo-ri-a

*
et s p i - n - t u - i sancto.

patri et f i - l i - o

It would be interesting to know how widespread this pattern was, and whether, at some earlier time, the respond was simply the short second phrase. T h e similarity of such simple melodies to some antiphons has often been remarked. Ferretti, for example (1938, 265) thought that the mode 6 antiphon melody for such pieces as Ego sum vitis the short responsories vera and Notum fecit dominus (Gevaert theme 39) had given melodic types, and families of rise to the melody of E x . 11.6.2. Claire's work has tended to suggest the opposite: that preserve relics of ancient antiphons were modelled on them. Some antiphons would derive from the second part (B above), some from the whole melody ( A B ) . Claire draws parallels not only with G r e g o r i a n examples but also with O l d R o m a n and Milanese ones. Particularly suggestive are the similarities with ferial antiphons, especially with the versions of these antiphons in manuscripts from M e t z , A a c h e n , and L y o n s . T w o antiphons from A a c h e n , D o m b i b l i o t h e k , 20 ( E x . II.6.3) may be compared with E x . II.6.1 above (compare the versions i n Claire 1975, nos. 67bis and 44). M o s t other sources transform these into G - m o d e antiphons. Whether or not one agrees with Claire's E x . I I . 6 . 3 . F e r i a l antiphons Credidi and Portio mea ( A a c h e n , D o m b i b l . 20, fos 4 3 , 47 )
r r

h
' ^

Credidi propter locutus sum.

_^

Porti-o m e - a

domi-ne

sit in terra uiuen-ti-um.

h y p o t h e s i s , it is c l e a r t h a t t h e s e s h o r t r e s p o n s o r i e s h a v e n o c o n n e c t i o n w i t h a n y e i g h t mode or eight-tone system.

II.7. (i) I n t r o d u c t i o n

A N T I P H O N S

(ii) F e r i a l or Psalter A n t i p h o n s (iii) A n t i p h o n s for the Psalms of Vespers, the N i g h t O f f i c e , and L a u d s (iv) A n t i p h o n s for the M a g n i f i c a t and Benedictus (v) T h e G r e a t O - A n t i p h o n s G e v a e r t 1895; F r e r e i n AS; A l f o n z o 1935; S t a b l e i n , ' A n t i p h o n ' , MGG; H u c k e 1951, 1953, ' F o r m e n ' ; T u r c o 1972, 1979, 1987; H o u r l i e r 1973; C l a i r e 1975; F r a n c a 1977; U d o v i c h 1980; H u g l o , ' A n t i p h o n ' , A G ; C r o c k e r 1986; D o b s z a y 1990, ' E x p e r i e n c e s ' . (i) Introduction repertory.

T h e r e are m o r e p i e c e s c a l l e d a n t i p h o n s t h a n a n y t h i n g else i n t h e c h a n t

T h e g r e a t m a j o r i t y b e l o n g t o t h e s i n g i n g of t h e o f f i c e , w h e r e t h e y are c o u p l e d to t h e d a i l y , w e e k l y , a n d y e a r l y c y c l e s of p s a l m s a n d c a n t i c l e s . B u t s o m e h a v e n o c o n n e c t i o n with psalms a n d are s u n g to a c c o m p a n y processions, o r as f r e e - s t a n d i n g votive a n t h e m s , m o s t o f t e n i n h o n o u r of t h e B l e s s e d V i r g i n M a r y . T h e y are of a d i f f e r e n t m u s i c a l c h a r a c t e r a n d are t h e r e f o r e d i s c u s s e d i n a l a t e r s e c t i o n , as are t h e a n t i p h o n s f o r t h e V e n i t e of t h e N i g h t O f f i c e , k n o w n as i n v i t a t o r i e s .

T h e m a n y h u n d r e d s of p i e c e s i n t h e m a i n b o d y of o f f i c e a n t i p h o n s m a y b e d i v i d e d roughly into three groups. 1. G e n e r a l l y s h o r t a n d s i m p l e i n s t y l e are a n t i p h o n s f o r t h e f e r i a l o f f i c e , t h a t i s , f o r the office h o u r s o n o r d i n a r y days ( i n c l u d i n g S u n d a y ) Nearly 100 antiphons of this type, with texts accompany, were generally required. 2 . T h e b u l k of t h e r e p e r t o r y w a s s u n g o n d a y s w i t h t h e i r o w n s p e c i a l l i t u r g y , t h e d o z e n s of feast-days of v a r i o u s types t h r o u g h o u t the year. O v e r 1,000 antiphons in the t h i s c a t e g o r y are u s u a l l y to b e f o u n d i n m e d i e v a l b o o k s , c o m p o s e d f o r V e s p e r s , H o u r s ) . R e p e r t o r i a l l y , t h e r e is a g e n e r a l d i s t i n c t i o n b e t w e e n s e c u l a r a n d w h e n n o feast from the intervenes. they drawn psalms

N i g h t O f f i c e , and L a u d s ( p r o p e r a n t i p h o n s were not usually r e q u i r e d for the L i t t l e monastic five b o o k s , b e c a u s e of t h e d i f f e r e n t n u m b e r s of p i e c e s r e q u i r e d : o n l y at L a u d s , w h e r e Temporale. 3. A n t i p h o n s for the t w o canticles of V e s p e r s a n d L a u d s , t h e M a g n i f i c a t a n d are B e n e d i c t u s r e s p e c t i v e l y ( c a l l e d g o s p e l c a n t i c l e s b e c a u s e of t h e i r l i t e r a r y s o u r c e ) ,

a n t i p h o n s w e r e s u n g i n b o t h u s e s , is m u c h a g r e e m e n t to be f o u n d , m o s t l y i n t h e

g e n e r a l l y l o n g e r a n d s o m e t i m e s m u s i c a l l y m o r e e l a b o r a t e t h a n t h e o t h e r s , at least o n f e a s t - d a y s . T h e i r t e x t s are u s u a l l y t a k e n f r o m t h e g o s p e l at m a s s of t h e d a y , o t h e r w i s e

7.

Antiphons

89

they look to the O l d Testament lessons of the N i g h t Office, or, on saints' days, to the vita or life of the saint read in chapter and d u r i n g the office itself. 1,500 in most A n t i p h o n s in these three categories will usually n u m b e r about

medieval manuscripts. But there is considerable variety between sources, so that the total n u m b e r used across Europe was enormous. T h e twelve sources whose texts were edited by Hesbert in CAO have well over 4,000 between t h e m .

A n t i p h o n s are settings of prose texts; they follow no regular mode of delivery such as a psalm tone, but naturally, in view of the great n u m b e r s required, often display melodic identities, similarities, or standard responses to appropriate texts. Some melodies were very popular and were used with m i n i m a l variance for numerous

different texts. Other melodies, or complexes of melodic material, were used with m u c h greater flexibility; for example, Frere said of mode 7 antiphons: 'there is m u c h similarity of material and method, which does not amount to a unity of theme'there is of course room for disagreement as to what does constitute 'unity of theme' Nowacki 1977 for an analytical discussion). T h e melodic style of most antiphons is relatively simple, with clear-cut phrases. T h e r e is no need of the melismas found in florid responsorial chants to mark crucial cadences or other structural features of the text. W i t h i n phrases one may find repeated notes, anacruses, and so on, in order to 'stretch' a melodic phrase over a longer text, but this is rarely so extended as to remind one of a psalmodic recitation. W h e n a text has a relatively large number of phrases, however, extra phrases of music will be provided. (Something of this has already been seen in the responsorial chants.) A number of melodies seem to have been composed deliberately for two-phrase texts, three-phrase, four-phrase, and so o n . Since each antiphon preceded and succeeded the singing of a psalm or canticle, the choice of psalm tone was preferably tonally compatible with the antiphon m e l o d y . Lists of antiphons were drawn up in medieval tonaries (see I I I . 14), where the antiphons are grouped according to mode and according to the psalm tone and differentia that they c o m m a n d . T h e s e groupings naturally b r i n g together antiphons which are similar melodically. T h e y do not, however, constitute a reliable thematic catalogue, for, if antiphons are to take the same tone and differentia, it is sufficient for their opening and their final to be similar: what happens in between is another matter. T a k i n g the tonary of Regino of P r i i m (d. 915) as a starting point, the Belgian antiphons under since musicologist Gevaert published a melodic catalogue of over 1,000 (see

forty-seven 'themes' (Gevaert 1895). Except through passing remarks of Gevaert's, however, it is not easy to get an idea of how stable the 'themes' are in practice, Gevaert usually cites only the opening of each antiphon. A p e l ' s discussion of mode 7 antiphons demonstrates the value and drawbacks of Gevaert's presentation. So also does a comparison with Frere's analysis in AS: Frere identified fifty themes, established on the basis of the whole melody, not the incipits w h i c h Gevaert (like the medieval tonaries) cited, though Frere too was guided by the groupings of the S a r u m tonary. Frere's themes are presented with comments and illustrations of their

stability, or lack of it. In the index to the S a r u m antiphoner w h i c h follows the introductory analyses, Frere marked about two-fifths of the 1,600 or so antiphons with the melodic labels assigned in his introduction. T h e complex reality behind the 'themes' can be judged f r o m , for example, some of the mode 8 antiphons. Gevaert's theme 12 antiphons are distributed across Frere's themes V i l l a , c, and j . Antiphons of Gevaert's themes 13 and 15 are b o t h in Frere's theme V I I I 6 , but some go into V I I I / . But if we actually check through the antiphons in Gevaert's theme 13, we find surprisingly few assigned to a theme by Frere at all. Gevaert has thirteen antiphons in his first epoch, that is, with texts f r o m the psalter (including ferial antiphons listed in a footnote), and six of these are assigned by F r e r e to V I I I 6 . But of Gevaert's twenty-nine second-epoch antiphons (with texts f r o m other books of the Bible) and two third-epoch antiphons, not one is assigned in F r e r e . Some, it is true, were not sung in S a r u m use, and others had variant forms of the melodies, but the lack of melodic similarity in Gevaert's group, b e y o n d the o p e n i n g , is still strikingly demonstrated. F o r another example one may look at the transcriptions of twenty-two antiphons in parallel given by Ferretti (1938, opposite p. 112). mode 8 O f these, w h i c h are

certainly closely related melodically, eight do not appear in the S a r u m antiphoner. T h r e e are not assigned to a theme by Frere, one is assigned to theme V i l l a , six to Yllle VIII;). Later commentators have been more wary of seeing identity between antiphons. H u g l o ( ' A n t i p h o n ' , NG) mentions only seven 'prototype' melodies whose basic shape was largely unaffected by adaptation for different texts. T a b l e 1 1 . 7 . 1 compares his choice with Gevaert's and Frere's. The most sophisticated morphology of the repertory so far has been achieved by H u c k e , who distinguishes ' L i e d e r ' (songs, the relatively unchanging melodies) from 'Strophen' (variable successions of standard phrases or groups of phrases) and f r o m recitation types. H u c k e ' s analysis has the merit of not being rooted in the concept of fixed tunes, and identifies features such as initia and other motifs which are independent of thematic families. T h e fact that only two-fifths of the antiphons were assigned to families by Frere, impressive though the number is, shows that this 1990, procedure alone cannot give a satisfactory account of the repertory. ( D o b s z a y with the O l d Roman repertory, analysed by N o w a c k i 1980, and the and four to VIII;'. of the twelve that appear in Gevaert's catalogue, eight are classified under theme 16 and four under theme 12 (not the same four as Frere's

'Experiences' has reported on a forthcoming new classification. Comparative studies Milanese repertory, analysed by Bailey and Merkley 1990, on the Gregorian antiphons.) T h e work of Claire (1975) and T u r c o (1972, 1979, 1987) has recently opened up important new avenues of inquiry, relating standard antiphon melodies to apparently ancient psalmodic practice (see also Jeanneteau 1985). T h e r e is space here only to mention once again the psalter antiphons. will undoubtedly shed further light

7.
T a b i c I I . 7 . 1 . Antiphon themes or prototype

Antiphons
melodies

91

Mode

N u m b e r of themes Gevaert Frere 7 4

Prototype ( H u g l o )

D (Protus)

authentic plagal either authentic plagal authentic plagal authentic plagal

1 2

8 3 4

Gevaert 9, Frere We (the melody of the ' O - a n t i p h o n s ' ) 5 3 2 5 5 19 Gevaert 29, Frere IVb G e v a e r t - , Frere \a Gevaert 39, F r e r e Vlb Gevaert 23, F r e r e V I lc Gevaert 13/18, Frere V I I I M Gevaert 12/16, F r e r e V I He//

E (Deuterus) F (Tritus) G (Tetrardus)

3 4 5 6 7 8

5 5 3 3 9 7

(ii) Ferial

or Psalter

Antiphons

A s mentioned i n the previous section, Claire has suggested that some of the simple melodies for the chanting of antiphons d u r i n g the ferial office may derive from the short responsories. Both would in fact spring ultimately from ancient responsorial psalmody, documented i n , for example, the sixth-century Psalter of S a i n t - G e r m a i n des-Pres (Paris, Bibliotheque Nationale, lat. 11947; see H u g l o 1982, 'ReponsG r a d u e l ' ) . A n o t h e r correspondence with old responsorial practice is that the texts of the ferial antiphons are taken from the psalm which the antiphon accompanies, often the first verse (this is also the case in over a quarter of the graduals of mass). Many of the antiphons have a very limited ambitus, and their tonality was somewhat unstable, for one finds different versions in different modes in various medieval sources. T h i s may also be an indication of antiquity, or at least of an origin before the advent of the eight-mode system. Some half-dozen melodies seem to have been particularly popular (though not always identical in all sources), those which appear in Gevaert ( G ) and Frere (F) as follows: G l , F I c ; G 2 , Fid quite similar to one another); G 1 4 , F V I I I f e ; G 3 4 , F llle; F V I I I w . It is not uncharacteristic (these two are G 4 0 , F V I c ; and G 4 4 ,

that the melody cited in the previous section as

E x . II.6.3, ending on b (in a sort of transposed E mode), should in the S a r u m antiphoner on w h i c h Frere's analysis is based be a G - m o d e melody ( V I I I n ) . E x . II.7.1 gives three psalter antiphons from manuscript A a c h e n , D o m b i b l i o t h e k 20, all e m p l o y i n g one of the mode 1 melodies (Gevaert 1, Frere lc). they are misericordiam is an arrangement of the first verse of Ps. 50, Miserere meus. Adiutorium nostrum In this source magnam in te mei. Sitivit assigned to various psalms of the T u e s d a y cycle. Secundum

is the second verse of Ps. 62, Deus Deus

is the last verse of

92

//. Chant

Genres
r

E x . I I . 7 . 1 . Psalter antiphons ( A a c h e n , D o m b i b l . 20, fo. 44 )

T-WSecundum magnam misericordi-am tu-am miserere me-i Deus. E u o u a e. Miserere.

Sitiuit

in te

a-nima me-a

De-us meus.

E u o u a e.

Deus

Deus.

Adiuto-rium

nostrum

in nomine

do-mi-ni.

E u o u a e.

Nisi quia.

P s . 123, Nisi

quia

dominus.

E a c h is f o l l o w e d b y t h e s a m e d i f f e r e n t i a f o r t h e p s a l m

t o n e a n d a n i n c i p i t f o r t h e p s a l m i t s e l f (that of Deus Deus meus is i n f a c t t h e m e d i a n t c a d e n c e , f o r t h e f i r s t h a l f - v e r s e c o n s i s t s of n o m o r e t h a n t h e t h r e e - w o r d i n c i p i t ) . T h e t h r e e a n t i p h o n s d i s p l a y i n m i n i a t u r e s e v e r a l f e a t u r e s of t h e g e n r e as a w h o l e . U n l i k e a p s a l m t o n e , w h e r e the r e c i t i n g n o t e o r t e n o r is r e p e a t e d as o f t e n as n e c e s s a r y f o r t h e n u m b e r of s y l l a b l e s , t h e a n t i p h o n m e l o d y is m o r e m o b i l e , a n d r e p e a t e d n o t e s , e x t e n s i o n s , a n d c o n t r a c t i o n s m a y be e m p l o y e d w h e r e v e r it i s felt n e c e s s a r y . N o t e v e n t h e c a d e n c e , o f t e n t h e least v a r i a b l e p a r t of a m e l o d y , is c o n s t a n t h e r e . T h e s h a p e o f t h e m e l o d y m a y be s u m m e d u p i n t e r m s o f t r i c h o r d s : F(G)a FED (brackets enclose notes not always present). (aGF) basic EFG

T h e t w o - p h r a s e s t r u c t u r e is f a i r l y u n i v e r s a l a m o n g p s a l t e r a n t i p h o n s , a l t h o u g h i n t h e b r i e f e s t e x a m p l e s a d i v i s i o n is h a r d l y n e c e s s a r y .

( i i i ) Antiphons

for

the Psalms

of Vespers,

the Night

Office,

and

Lauds

W i t h a l l d u e r e g a r d f o r t h e v a r i a b i l i t y of t h e m e l o d i c m a t e r i a l i t s e l f a n d t h e s o u r c e s i n w h i c h it has c o m e d o w n to u s , o n e m a y p o i n t to t h e m e l o d y G e v a e r t t h e m e 2 9 , F r e r e I V f t , as r e l a t i v e l y s t a b l e . It w a s a f a v o u r i t e f o r t e x t s of f o u r p h r a s e s . It is s o m e t i m e s notated w i t h final o n E, final but usually w i t h final o n a, a n d r e g a r d e d as m o d e 4 t r a n s p o s e d . T h e r e a s o n f o r t h i s is t h a t b o t h b a n d bb Ft) a n d F # if the E are r e q u i r e d , w h i c h w o u l d be pitch-series but on a, or

w e r e p r e f e r r e d , a n d F% w a s n o t p a r t of t h e final P h r y g i a n cadence falls not o n E

u s e d to n o t a t e c h a n t . T h e first t h r e e p h r a s e s u s u a l l y s o u n d as if f r o m a n o r m a l m o d e 3 m e l o d y ( w i t h bfc}), w h e r e a s t h e a p p r o a c h e d t h r o u g h bb. S o m e s o u r c e s n e v e r t h e l e s s c h o o s e c i n s t e a d of b o r bb,

n o t a t e at t h e l o w e r p i t c h w i t h Ft) t h r o u g h o u t . A n d d i f f e r e n t a n t i p h o n s m a y s h o w d i f f e r e n t a p p r o a c h e s to t h e t o n a l i t y . E x . I I . 7 . 2 d e m o n s t r a t e s b o t h t h e f o r m a l s t a b i l i t y a n d t h e t o n a l d i f f i c u l t y of t h e m e l o d y . T h e m e l o d y is s t r o n g l y r e p r e s e n t e d i n A d v e n t a n d P a s s i o n t i d e , a n d t h e e x a m p l e s are t a k e n f r o m the l a t t e r s e a s o n ( i n t h e A a c h e n manuscript they follow one another directly). (For 539, all o n other E.) examples, presented s y n o p t i c a l l y , see S t a b l e i n , ' A n t i p h o n ' , MGG,

7. Antiphons

93

E x . 11.7.2. A n t i p h o n s w i t h the melody Gevaert theme 29 ( A S and A a c h e n , D o m b i b l . 20)

AS

203

Magister di-cit

tempus meum prope est

apud te faci-o pascha cum discipulis meis.

Aachen f.72v

*k
AS

#
20

& "
Desideri-o

*
1

U *s

desideraui hoc pascha

manducare uobiscum

antequam pati-ar.

Aachen f.72v
*
#

*;

'

*,

0}

desidera-ui

pascha

The

most c o m m o n melody, or melodic complex, in the regular E - m o d e is found

a m o n g the antiphons of Gevaert's theme 36, Frere IIIc. Here the n u m b e r of phrases is less regular, usually four or five. It has a relative among the psalter antiphons, and there is perhaps a temptation (which should be resisted) to see in these examples a steady expansion f r o m simple beginnings ( E x . phrases, Fidelis serous II.7.3). Cunctis diebus, the psalter antiphon, has but two phrases. Picking up the G-a opening of the second of these b-G steps at

brings in a central phrase, which cadences on G , in between enim this happens in the

the b and E cadences of the outside phrases. F o r a fourth phrase the a-c, the end of the first phrase may be developed: in Herodes second phrase, in Hie est discipulus an extension, as in Nigra sum.

ille in the third. T h e last phrase may also generate

O n e simple way of generating music for a longer text is to repeat the melody, which happens with some members of Gevaert 18, Frere VI116, and Gevaert 12, B and C are settings of 'alleluia', making an intermediate and final Frere V I I I / . A n o t h e r group (Gevaert 39, Frere V I 6 ) , displays a simple A B A C f o r m , where cadence respectively. A large n u m b e r of antiphons, however, draw upon a stock of phrases in a way somewhat akin to the procedures we have seen in responsorial chants. T h i s has been demonstrated, for example, for a group of mode-1 antiphons by Ferretti (1938, 11316; compare the antiphons having Ferretti's opening 1 with Gevaert theme 6 and Frere l a ) . Some of the phrases were clearly associated with openings, some with antiphon endings; others may have a mediant function. H u c k e pointed to the universality of this technique through many chant genres (1953, ' F o r m e n ' ; see the example on p p . 16-19). A glimpse of it can be seen in E x . II.7.3 above, where the outside phrases are constant but the inner ones vary.

94

//. Chant

Genres

E x . I I . 7 . 3 . A n t i p h o n s w i t h the melody Gevaert theme 36 ( L u c c a , B i b l . C a p . 601)

92

P P

Cunctis di-e-bus uite nostre 540

saluos nos fac domine.

Fidelis seruus et prudens 454

quern constitu-it dominus

super f a m i - l i - a m su-am.

Herodes enim tenuit 55

et ligauit Iohannem

et posuit in carcerem

propter Herodi-adem.

Hie est discipulus ille

qui testimonium perhibet de his

et scimus quia uerum est

testimonium ems. 543

Nigra sum sed formosa

f i l i - a Iherusalem

i - d e - o dilexit me

rex et introduxit me

P
group of a n t i p h o n s . T h e y omnes were notated i n some Gaudeamus

in cubiculum suum.

E x . 1 1 . 7 . 4 s h o w s s o m e t h i n g of t h e s a m e t e c h n i q u e p e r s i s t i n g i n a r e l a t i v e l y late sources, including the L u c c a a n t i p h o n e r u s e d h e r e , o n c, i n o t h e r s o n F w i t h bb t h r o u g h o u t . i s f r o m t h e l i t u r g y o f t h e O c t a v e of t h e N a t i v i t y ; e x a c t l y t h e mater a n d Virgo hodie fidelis, o n the s a m e f o r m o f t h i s m e l o d y w a s u s e d f o r Nesciens

s a m e feast. O n e m a y d i s t i n g u i s h f i v e p h r a s e s , l a b e l l e d A t o E . T h e t h i r d p h r a s e C uses t h e s a m e s m a l l d e c o r a t i v e t u r n cefed as t h e s e c o n d p h r a s e B . T h e sense of t h e t e x t carries us over the break between t h i r d a n d f o u r t h phrase, t h o u g h other a n t i p h o n s i n the family s h o w a caesura here. Pro eo quod non credidisti, f o r S t J o h n t h e B a p t i s t , h a s a l o n g e r first p h r a s e , w h i c h b u t phrase is g i v e n a n o r n a m e n t a l o p e n i n g O ; t h e s e c o n d p h r a s e is as i n Gaudeamus, r o o m t o e x p a n d u p t o t h e h i g h g. I n Modicum et non videbitis ( E a s t e r w e e k ) t h e i n i t i a l f a l l t o G ( O ) is n o l o n g e r o r n a m e n t a l . T h e s e c o n d phrase ( X ) is n o w q u i t e different, f o r the c o m p o s e r seems to w a n t t o r e f l e c t t h e p a r a l l e l i s m of t h e text i n h i s m u s i c . T h e D a n d E p h r a s e s a r e s t i l l

C is a b s e n t a n d E is m u c h s h o r t e r ; D n o w e c h o e s t h e o p e n i n g ; t h e last p h r a s e h a s l i t t l e

7.

Antiphons

E x . I I . 7 . 4 . A n t i p h o n s ( L u c c a , B i b l . C a p . 601) 18 A B

Gaude-a-mus omnes fi - deles 409 0

saluator

nos - ter natus est in mundo

= A

Pro e - o 3.

quod non credidisti uerbis meis A X

e-ris ta - cens et non pote-ris loqui ^

236

Modicum et non ui-de-bitis me dicit dominus o A

A

i - t e - r u m modi-cum et ui-debitis me B

3H 4.

Que 640 o

muli-er habens dragmas decern ^ ^ A

et si per-di - de-rit dragmam u-nam _

ad-mira-bile commertium

cre-ator generis hu-mani

a - n i - m a - t u m corpus sumens

hodi-e processit

pro - les

magnifi-ci germi-nis

et perseuerat pudor uirgi-ni-tatis.

usque in di-em

na-ti-ui-ta-tis

e-ius.

3.

P
J)
nonne accendit lucer - nam

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r e c o g n i z a b l y r e l a t e d to t h o s e i n the o t h e r a n t i p h o n s , E n o w c o n s i s t i n g o f t w o d i s t i n c t u n i t s , t h e t w o ' a l l e l u i a ' c a l l s . B u t E also n o w r e s e m b l e s t h e o p e n i n g p h r a s e . I n Que mulier ( p o s t P e n t e c o s t ) a l l the m e l o d i c m a t e r i a l seen so far is u s e d , w i t h E commercium ( C i r c u m c i s i o n ) n e e d s a n e x t e n d e d first p h r a s e , again d i v i d i n g into two units. F i n a l l y , O admirabile f o r m as i n Gaudeamus. m a k e s a s e c o n d o u t of it i n f a c t . D is also m o r e e x t e n d e d t h a n b e f o r e . E h a s t h e s a m e A l t h o u g h d e t a i l s v a r y f r o m o n e p i e c e to a n o t h e r , t h e r e is o b v i o u s l y a c l e a r s e n s e o f t h e c h a r a c t e r a n d d i r e c t i o n of e a c h p h r a s e . A is a d e c o r a t e d r e c i t a t i o n o n c\ B m a k e s a decorative half-cadence w h i c h i n c l u d e s h i g h /, t h e n t a k e s t h e h i g h / as t h e s t a r t i n g p o i n t f o r a d e s c e n t b a c k to c. C r e c i t e s o n c t h e n m a k e s t h e s a m e d e c o r a t i v e c a d e n c e m o r e c o n c l u s i v e l y o n d. T h e f u n c t i o n of D is t o t u r n t h e r e c i t a t i o n d o w n t o a l o w G . E reverses that m o v e m e n t , perhaps w i t h e n o u g h energy to t o u c h o n h i g h g . W i t h q u i t e s i m p l e i d e a s l i k e t h i s i n m i n d , the s i n g e r c o u l d e a s i l y a d d m o r e m a t e r i a l of t h e s a m e k i n d , o m i t o r s u b s t i t u t e an i n t e r n a l p h r a s e .

( i v ) Antiphons

for

the Magnificat

and

Benedictus

M u c h a n a l y s i s r e m a i n s to be d o n e b e f o r e w e c a n see t h e f u l l e x t e n t o f t h e m a t e r i a l s h a r e d b y d i f f e r e n t a n t i p h o n s . P e r h a p s a l a y e r i n g of t h e r e p e r t o r y , b y s e a s o n , o r e v e n c h r o n o l o g i c a l l y , m i g h t t h e n b e d i s c e r n i b l e . T h e task d e m a n d s n o t o n l y a n a l y s i s of t h e melodies themselves b u t also c a r e f u l c o m p a r i s o n of the r e p e r t o r i e s i n sources of different p r o v e n a n c e a n d date. C o n s i d e r a b l e f u r t h e r d i f f i c u l t y arises b e c a u s e of t h e v a r i e t y of m u s i c a l r e a d i n g s i n d i f f e r e n t s o u r c e s . E v e n w h e n s o u r c e s h a v e t h e s a m e m e l o d y ( d i s a g r e e m e n t e v e n at t h e b a s i c l e v e l is n o t u n c o m m o n ) t h e r e is c o n s i d e r a b l e d i f f e r e n c e of d e t a i l (see the p a r a l l e l t r a n s c r i p t i o n s b y U d o v i c h 1980). A t the m o m e n t it a p p e a r s that f o r m u c h of t h e y e a r l y c y c l e a n t i p h o n s f o r of L a u d s s h a r e d m e l o d i c m a t e r i a l the and M a g n i f i c a t of V e s p e r s a n d the B e n e d i c t u s

g e n e r a l s t y l e w i t h t h e b u l k of o t h e r o f f i c e a n t i p h o n s . N e v e r t h e l e s s , it is r a r e f o r t h e s e a n t i p h o n s to h a v e less t h a n f o u r p h r a s e s . S o m e a n t i p h o n s , h o w e v e r , m a n y p r o b a b l y of r e l a t i v e l y late d a t e , are far m o r e e x t e n d e d a n d m o r e Sanctorale. A n example w i l l make this clear. E x . I I . 7 . 5 g i v e s t h r e e M a g n i f i c a t a n t i p h o n s of t h i s t y p e , a l l i n m o d e 1. A l l t h r e e r e l a t e p a r t of the s t o r y of the m a r t y r s i n q u e s t i o n , A n d r e w (30 N o v e m b e r ) , (21 the January), flames, a n d A g a t h a (5 February). I n each ( A n d r e w c o m e s to t h e p l a c e w h e r e the c r o s s has b e e n e r e c t e d , A g n e s s t a n d s Agnes is amidst w e are t o l d w h e r e t h e s a i n t florid, p a r t i c u l a r l y those for the

A g a t h a i n prison) and then each saint speaks: A n d r e w addresses the cross

itself, A g n e s glorifies G o d , A g a t h a prays for strength a n d eventual r e w a r d i n h e a v e n . D e s p i t e t h e s i m i l a r i t i e s i n the text ( p a r t i c u l a r l y at t h e s t a r t of t h e A g n e s a n d A g a t h a antiphons) the m u s i c a l r e s e m b l a n c e s are not u s u a l l y l i t e r a l . A s w e s h o u l d e x p e c t , h o w e v e r , t h e a n t i p h o n s m a k e use of p h r a s e s t y p i c a l f o r t h i s t o n a l i t y , a d a p t e d to t h e t e x t as n e c e s s a r y . M u c h of t h e m o v e m e n t is c o n c e r n e d w i t h r i s i n g f r o m D to a a n d

7. Antiphons E x . 11.7.5. Magnificat antiphons ( L u c c a , B i b l . C a p . 601)

97

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f a l l i n g b a c k a g a i n . S o m e t i m e s t h e d e s c e n t is t o C , s o m e t i m e s t h e r e are p a u s e s a r o u n d a o r G . T h e f o l l o w i n g m a y b e p i c k e d o u t h e r e (the l a b e l s r e p r e s e n t i m p o r t a n t p i t c h e s i n e a c h p h r a s e a n d are a l s o u s e d i n t h e t r a n s c r i p t i o n s ) . (i) DFDCFa 4- a-D a n d c-a-D. T h e p e n u l t i m a t e phrase i n all three descends final D. f r o m a to C , a n d t h e final p h r a s e is a n a r c h f r o m C b a c k to a a n d d o w n to the DFDCFa. F o r A n d r e w t h e r e is t h e n a l o n g d e s c e n d i n g p h r a s e b a c k to D.

A l l t h r e e b e g i n w i t h a m e l o d i c s h a p e s e e n at its s i m p l e s t i n t h e A g n e s a n t i p h o n : Agatha only a r r i v e s at a at t h e b e g i n n i n g of t h e s e c o n d p h r a s e , b u t t h e o v e r a l l p r o g r e s s has b e e n t h e s a m e as f o r A n d r e w . T h e r e is a n e x a c t p a r a l l e l t o t h e t w o o p e n i n g p h r a s e s o f t h e A n d r e w a n t i p h o n i n A g a t h a ' s ' g r a t i a s . . . c a r n i f i c u m ' . T h e o p e n i n g p h r a s e r e c u r s yet a g a i n i n A g a t h a ' s ' i u b e . . . t u a m ' . T h e rise f r o m C to a a n d b a c k to D is c o m p r e s s e d i n t o o n e u n i t f o r t h e final p h r a s e ; a n d it c a n b e s e e n a g a i n i n t h e A n d r e w a n t i p h o n f o r 'et i a m . . . p r e p a r a t a ' , a n d t w i c e i n t h e A g n e s a n t i p h o n ; i n t h e l a t t e r it f o r m s a n a l l i a n c e w i t h a d e s c e n d i n g a-C ( i i ) a-C. p h r a s e , so t h a t ' o r a b a t . . . a d o r a n d e ' a n d ' c o l e n d e . . . t e ' are t h e s a m e ; ' o r a b a t a d d o m i n u m ' is e x a c t l y as i n the A g a t h a a n t i p h o n . I n A n d r e w 'o b o n a c r u x ' f o r m s p a r t of a l o n g e r d e s c e n t f r o m a t o C b y a d o r a n d e ' , ' b e n e d i c o te'), a n d n o t e d its r o l e as a ' d e s i d e r a t a ' . T h i s is a l s o t h e p u r p o s e of ' d i s c i p u l u m e i u s ' . W e h a v e a l r e a d y s e e n it t w i c e i n the A g n e s ('omnipotens penultimate ( i i i ) a-c-a. Iesu C h r i s t e ' . ( i v ) a-G. flammarum'. Although g e s t u r e s are the antiphons initially simple. appear somewhat ornate, the basic melodic the 113-14), i n fact q u i t e S i m i l a r phrases (indeed i d e n t i c a l o n e s at A n d r e w : 'o b o n a c r u x ' , ' v e n i o a d te', ' s u s c i p i a s m e ' ; A g n e s : ' i n m e d i o phrase. A n d r e w : 'exclamat et d i x i t ' , ' s e c u r u s et g a u d e n s ' ; A g a t h a : ' d o m i n e

o p e n i n g ) m a y b e s e e n i n F e r r e t t i ' s t a b l e of m o d e 1 f o r m u l a s ( F e r r e t t i 1938,

t h o u g h t h e y are g e n e r a l l y s y l l a b i c . If c o m p a r e d w i t h t h e i r m o r e n u m e r o u s s i m p l e r s i s t e r s , t h e s e a n t i p h o n s m a k e m o r e l e i s u r e l y p r o g r e s s , a n d t h e w h o l e e f f e c t is m o r e s o l e m n , as b e f i t s t h e i r r o l e i n t h e l i t u r g y . Magnificat and Benedictus processional evangelium, chants. There antiphons were occasionally is also a repertorial link d i r e c t e d to be s u n g the antiphonae as with ante that

p o s s i b l y n o n - R o m a n s u r v i v a l s (see V I . 5 . v ) . A l l t h i s m a y i n d i c a t e

m e l o d i e s of t h e G a l l i c a n r i t e h a v e s u r v i v e d i n t h e g u i s e of M a g n i f i c a t a n d B e n e d i c t u s a n t i p h o n s ; b u t f u r t h e r s t u d y a n d a n a l y s i s are r e q u i r e d .

(v)

The

Great

O-Antiphons

A s p e c i a l g r o u p of b i g , s i x - p h r a s e M a g n i f i c a t a n t i p h o n s , a l l s u n g to t h e s a m e u n i q u e m o d e 2 m e l o d y a n d b e g i n n i n g w i t h t h e w o r d ' O ' ( O Sapientia, Iesse, O Adonay, O Radix Others been a n d so o n ) w e r e s u n g o n t h e s e v e n d a y s l e a d i n g u p to C h r i s t m a s E v e .

w e r e l a t e r w r i t t e n i n i m i t a t i o n o f t h e m , b u t the o r i g i n a l s e v e n a p p e a r to h a v e

c o m p o s e d as a g r o u p , f o r t h e y are a l l a d d r e s s e d to C h r i s t , a n d m a y b e l i n k e d b y a n

8. Invitatory

Antiphons

99

acrostic: reading in reverse order the initial letters of each second w o r d one finds the text ' E R O C R A S ' , which is interpreted as ' T o m o r r o w I shall be [with y o u ] . ' T h e largest bell of the c h u r c h was rung while they and the Magnificat were sung, and they were assigned in turn to the most prominent members of the ecclesiastical hierarchy: abbot, prior, cellarer, and so o n .

II.8

I N V I T A T O R Y

A N T I P H O N S

F r e r e i n AS\ Stablein, ' I n v i t a t o r i u m ' , MGG; Steiner, ' I n v i t a t o r y ' , NG. T h e invitatory at the start of the N i g h t Office comprised the singing of Ps. 94, exsultemus, Venite

a n d an accompanying antiphon. Just as the Venite was sung to tones

independent of the eight simple psalm tones, so the antiphons f o r m a musical class of their o w n . In some respects they have more i n c o m m o n musically with the great responsories of the Night Office than with other office antiphons. Ferretti (1938, 220-1) reckoned that twenty-nine invitatory antiphons belonged to the earliest layer of the repertory. A typical antiphoner will contain seventy or eighty. T h e r e is enormous variety in medieval sources as to the choice of antiphons and the Venite tone they c o m m a n d , and little systematic research on the repertory has yet been accomplished. T h i s instability argues for a relatively late, expanding c o r p u s ; yet other features seem archaic. A s reported above ( I I . 3 . v i ) , there are no antiphons (or very few) i n modes 1 and 8. Furthermore, the antiphon seems to have been repeated after each verse of the Venite, the complete antiphon at the start and after verses 1, 3, 5, the second half of the antiphon after verses 2, 4, a n d the doxology. It is usually thought that in ancient practice all psalms were performed this way, or with complete repeats after each verse. Against this, it may be pointed out that certain processional hymns of recent and n o n - R o m a n origin were also sung thus i n the M i d d l e Ages (II.15.iv). E x . 11.8.1. Invitatory antiphon Quoniam Deus rnagnus a n d part of responsory Tolle anna ( B a m b e r g , Staatsbibl. l i t . 25, f o . 47 )
r

tua

Quo-ni - am De-

-us

rnagnus

do - mi - nus

R. Tol-

-le

ar - ma tu-

-a

pha-re-tram

et

ar-

-cum ...

M o s t i n v i t a t o r y a n t i p h o n s c o n s i s t of s o m e f o u r p h r a s e s set i n a n o r n a t e style. A s w i t h more flexible antiphons in general, they sometimes

melodic

use r e l a t i v e l y s t a b l e t y p i c a l

m e l o d i e s , s o m e t i m e s d r a w u p o n m a t e r i a l c h a r a c t e r i s t i c of t h e t o n a l i t y b u t c a p a b l e of use ( F r e r e g i v e s a n a c c o u n t of the g r o u p i n g s i n t h e S a r u m a n t i p h o n e r ) . A n i n t e r e s t i n g f e a t u r e of t h e m o d e 7 a n t i p h o n s is t h e i r use of m a t e r i a l also f o u n d i n g r e a t r e s p o n s o r i e s of the s a m e m o d e . E x . I I . 8 . 1 g i v e s a L e n t e n i n v i t a t o r y a n t i p h o n a n d t h e start of t h e s u c c e e d i n g r e s p o n s o r y ( t h i s f o r t u i t o u s s u c c e s s i o n course, occur i n all sources). does not, of

II.9. (i) Introduction

P R O C E S S I O N A L

A N T I P H O N S

(ii) R o g a t i o n A n t i p h o n s (iii) P a l m S u n d a y A n t i p h o n s (iv) A n t i p h o n s for O t h e r Occasions Bailey, (i) 1971.

Introduction

T h e a n t i p h o n s for processions a n d the votive a n t i p h o n s for the Blessed V i r g i n a n d other occasions, m a n y c o m p o s e d i n the later M i d d l e A g e s , r e q u i r e f u r t h e r s t u d y even m o r e t h a n d o s o m e o f the o t h e r a n t i p h o n r e p e r t o r i e s just d i s c u s s e d . F o r p r o c e s s i o n a l a n t i p h o n s a s t u d y b y B a i l e y has f o r t u n a t e l y p r e p a r e d the g r o u n d . ( I n t h e a b s e n c e of other editions, the facsimiles are likely P a l M u s 12, to have 13, and 15 a n d Vecchi for 1955 the may be consulted.) Medieval occasions: books (i) processional antiphons following and as p a r t of t h e r i t u a l a c c o m p a n y i n g the c h a n t i n g of the l i t a n i e s o n

25 A p r i l ( S t M a r k ' s D a y ) a n d o n the r o g a t i o n d a y s o n t h e M o n d a y , T u e s d a y ,

W e d n e s d a y b e f o r e A s c e n s i o n D a y ( T h u r s d a y ) ; (ii) f o r t h e l i t u r g y of P a l m S u n d a y ; ( i i i ) i n s m a l l e r g r o u p s as r e q u i r e d f o r o t h e r d a y s w i t h s p e c i a l l i t u r g i e s , s u c h as t h o s e of H o l y W e e k o r the B l e s s i n g o f t h e C a n d l e o n 2 F e b r u a r y ( P u r i f i c a t i o n of t h e Blessed V i r g i n M a r y ) ; ( i v ) f o r the less e l a b o r a t e p r o c e s s i o n s i n s t i t u t e d as a r e g u l a r f e a t u r e of m a n y f e a s t - d a y s of t h e y e a r , m o s t l y b e f o r e t h e h i g h m a s s o r a f t e r N o n e . M o s t s o u r c e s have about forty a n t i p h o n s lengthy melismas. Some altogether. have an equally ornate verse and were performed P r o c e s s i o n a l a n t i p h o n s are g e n e r a l l y o r n a t e c h a n t s , s o m e v e r y l o n g i n d e e d , w i t h r e s p o n s o r i a l l y , t h a t is, w i t h a r e p e a t of a l l o r p a r t of t h e first s e c t i o n , the r e s p o n d , a f t e r t h e v e r s e . O t h e r s a p p e a r w i t h a n i n c i p i t f o r t h e c h a n t i n g of a p s a l m , b u t it is n o t clear h o w m a n y verses w o u l d have been s u n g ( p r e s u m a b l y i n alternation w i t h antiphon). T h e r e is n o d o u b t that t h e r e p e r t o r y c o n t a i n s c h a n t s of q u i t e d i f f e r e n t o r i g i n s . O v e r eighty can be f o u n d i n R o m a n sources a n d may have o r i g i n a t e d i n R o m e , while the

F r a n k i s h c o m p o s i t i o n m a y be suspected for m a n y others, a n d o l d G a l l i c a n relics m a y a l s o be p r e s e n t . Y e t the b a s i c a n a l y s e s of s t y l e w h i c h m i g h t h e l p d i f f e r e n t i a t e t h e s e t h r e e t y p e s , if t h e y are r e a l l y p r e s e n t , h a v e n o t b e e n c a r r i e d o u t .

( i i ) Rogation The

Antiphons

e a r l i e s t s o u r c e s c o n t a i n n e a r l y 100 r o g a t i o n a n t i p h o n s , i n v o k i n g G o d ' s a i d i n images and

v a r i o u s t i m e s of t r o u b l e , o r r e f e r r i n g to t h e p r o c e s s i o n i t s e l f a n d t h e s a i n t s '

c a r r i e d d u r i n g it. L a t e r sources usually content themselves w i t h about t w e n t y . Bailey's t a b l e of a n t i p h o n s i n t w e n t y e a r l y s o u r c e s , i n c l u d i n g t h o s e f r o m S p a i n , M i l a n , R o m e , l i s t s o v e r 150 i t e m s ( B a i l e y 1 9 7 1 , The features, antiphons with Roman 122-7). usually display standard FE o r baGa aG), Gregorian occasional Occasionally but one, vos demergat, counterparts

t h e c o n v e n t i o n a l c a d e n c e s ( f o r e x a m p l e EGF

g r o u p s of r e p e r c u s s i v e n o t e s ( r e m i n d i n g o n e of i n t r o i t s o r o f f e r t o r i e s ) g a p p e d scale that p r o v i d e s a f r a m e w o r k for m a n y G r e g o r i a n c h a n t s . t h i s is n o t a r e g u l a r f e a t u r e . ( C o m p a r e t h e G r e g o r i a n v e r s i o n o f Non B a i l e y , 57, M M M A Ego

and the same

t h e r e are h i n t s o f a d i f f e r e n t m a n n e r , f o r e x a m p l e i n r e p e a t e d m u s i c a l p h r a s e s , w h i c h has a r e p e a t e d o r n a t e r e c i t a t i o n f o r m u l a , w i t h t h e R o m a n

2, 573, w i t h o u t r e p e t i t i o n . O t h e r repetitions m a y be f o u n d i n the ' a l l e l u i a ' Deus, Ex. II.9.1, is a n a n t i p h o n of t h i s s o r t . One would expect a

e n d i n g s , b u t t h e s e are u s u a l l y l a t e r a d d i t i o n s ) . sum c o n v e n t i o n a l Zs-cadence a f t e r 'eos', b u t it is m a d e i m p e r f e c t , a n d a t w o f o l d a l l e l u i a f o l l o w s . U p u n t i l h e r e t h e a n t i p h o n has t h e s a m e g e n e r a l o u t l i n e as t h e R o m a n v e r s i o n ( M M M A 2, 545), b u t t h e ' a l l e l u i a ' is q u i t e d i f f e r e n t . I n f a c t it is a ' w a n d e r i n g ' a d d i t i o n , w h i c h also t u r n s u p at t h e e n d of s e v e r a l o t h e r a n t i p h o n s i n t h i s m o d e . B a i l e y has p o i n t e d o u t s e v e r a l e x a m p l e s of m u s i c a l m a t e r i a l f o u n d i n m o r e t h a n o n e a n t i p h o n of t h e s a m e m o d e , f o r e x a m p l e b e t w e e n Ego convertimini responsorial (Bailey, chants. 147). sum deus a n d Populus Sion N o n e t w o r k of i n t e r r e l a t i o n s h i p s s e e m s t o b e present,

h o w e v e r , of t h e s o r t that has b e e n d e t e r m i n e d f o r s o m e g r o u p s of o f f i c e a n t i p h o n s a n d

E x . I I . 9 . 1 . Processional a n t i p h o n Ego sum Deus ( P r o v i n s , B i b l . M u n . 12, f o .

163 )
r

_zsz.

mz.

E-

-go

sum m
w

De-

-us
m

pa-trum ue-stro-

-rum

dicit

do-

- m i - nus

# w in

MM,

/g>
o-nem
M

mmm t et
MM Im

uidens ui - di
-f

af - flic - ti
^

des
1+MW

cendi
Ml fM

vwm li-

^MSM

-re

0-MiW

/a

M n

/%.

-be

ra-

os

al-le-

- l u - ia

al-le-

- l u - ia.

One

rogation antiphon, Deprecamur

te, has achieved special fame, since

Bede

reported that A u g u s t i n e and his followers sang it as they first approached C a n t e r b u r y , carrying a cross and an image of the Saviour, o n their mission to E n g l a n d in 597 (Bede, trans. Sherley-Price, 70). T h e antiphon has been edited several times (for example, Stablein, ' A n t i p h o n ' , MGG, and 542; M M M A 2, 565), and its various F r a n k i s h Italian versions have been compared by L e v y (1982).

(iii) Palm

Sunday

Antiphons

O f quite different dimensions and style are some of the grand antiphons for the P a l m Sunday procession, such as Collegerunt Dominus Iesus, and Cum audisset chants.) Collegerunt pontifices populus. V . Unas autem, Cum appropinquaret (Most sources have some half-dozen

( E x . II.9.2) is occasionally f o u n d as an offertory for mass,

possibly a reflection of earlier Gallican liturgical practice. It begins with a sweeping melisma, repeated almost at once, and other repeats are present (marked with letters). A richly ornamented recitation may be discerned, whereby the c o m m o n cadence formula at ' R o m a n i ' and ' l o c u m ' is almost lost. Repetitions such as these may be a natural event in the setting of a long text, in melismatic style, when no vocabulary and syntax of the type developed for, say, graduals and tracts is available. W e have already seen it i n some later office antiphons, and the suspicion arises that it is a n o n Gregorian characteristic. E x . I I . 9 . 2 . F r o m the processional a n t i p h o n Collegerunt fo. 110 )
r

pontifices

( P r o v i n s , B i b l . M u n . 12,

a 3=
Col-le-ge-runt . . . et di-ce - bat

i i

ue-

- n i - ant

Ro-ma-

-ni

et

tol-

-lant

no-

-strum l o -

-cum ...

ab

il-lo

er-go

di - e

cogi-tauerunt

(iv) Antiphons

for Other

Occasions

Y e t other stylistic features appear in the big ceremonial antiphons from other times of the year. translated Both Ave gratia plena and Adorna thalamum suum (Purification) were f r o m G r e e k kontakia when the ceremony of blessing the candle was

instituted in R o m e by Sergius I (678-701). Byzantine melodies for these texts are not

9.

Processional alpha

Antiphons et OJ ( P a r i s , B i b l . N a t . lat. 903, fo. 74

E x . I I . 9 . 3 . Processional a n t i p h o n Ego sum

Q V E-go sum a l - f a et CO
9

V * primus et no-uissimus
0 9

5^ * i - n i - c i - u m et fi - nis
#

P P
T

-f

9+, ^

>

qui an-te mundi princi-pi-um

et in seculum secu-li

ui - uo in aeter - num.

*w

9 ^

A - quam me - e

que uos fe-ce-runt

cla-uis con-fixe sunt

propter uos flagellis cesus sum

spi-nis

co-ro-natus sum.

~9

#^

A - quam pe-ti - i pen-dens

et a - ce-tum

por-re-xerunt

^
in escam

me-am fel de-derunt

* 9 9 et in la-tus

-** lance-am.

Mor-tu-us et se-pultus sum

resurre-xi uo - biscum sum

V e-go ip-se

ui-de-te qui-a

sum

wrr-9**o9et non est de - us pre-ter me.

-T9+* Al-le-

*+^9

9^0^ ~
W

lui-

-a.

V.

E-go sum uestra redem-pti-o

e-go sum rex uester

e-go uos

resusci-ta-bo

per dex-te-ram

me-am.

known, but the L a t i n antiphons are in any case not related to each other musically. Adorna thalamum has a very obvious repeat structure, since practically all lines follow the same highly ornate recitation formula (Stablein, ' A n t i p h o n ' , MGG, 542). Different again are such antiphons as those usually assigned to Sundays after E p i p h a n y or d u r i n g L e n t : Ecce carissimi, Cum veneri?nus, and In die or G-a-a, quando (Bailey, 3 0 - 3 ) . I n these three b i g D - m o d e antiphons practically every cadence is made f r o m the tone under the final or the dominant, C-DD often thought sequences. to be of Gallican origin, certainly a cadence not G r e g o r i a n , m u c h used i n

In spite of an overall uniformity, caused by limited n u m b e r of melodic

goals, the only formal repetition occurs i n one or two melismas. A n d not the least problem of deciding on the provenance of such pieces lies in the fact that the melismas may take on different forms in different sources, or be omitted altogether, and the cadences may take more normal Gregorian forms. Easter processional antiphons include Stetit Iudei. T h e two are nevertheless angelus (Sedit) angelus V . Crucifixum in came nunc (two versions are discussed in Roederer, 1974) and Ch?istus of different tonality, resurgens character, Stetit resurgens V . Dicant

proportions,

and musical

being in G , with a long respond and short verse and a very being i n D , with respond and verse et a> (Bailey, 42), is a meditation b y

mobile, free-ranging melody, Christus One

equally long, cramped i n range, and making use of the G a l l i c a n cadence. remarkable antiphon, Ego sum alpha Christ himself ( E x . 11.9.3). H e r e yet another distinctive voice makes itself heard. Elaborate melismas are absent, with only a short alleluia with (in this source) brief repetition. T h e G a l l i c a n cadence is obvious, and the music of several lines is the same (7-10, 11-14, 15-18 f o r m loosely three strophes; 19 and 21 start similarly); the alleluia has an A A B f o r m . C o m p a r i s o n with other sources shows again, however, that not all these features are constant across the manuscript tradition (cf. Bailey, 42). F o r many processions it was usual, at least in the later M i d d l e Ages, to borrow one of the responsories f r o m the N i g h t Office of the day, or, since Vespers on feast-days might also have a responsory, that one instead. ( T h e pieces i n the Liber are almost all such responsories.) responsorialis

11.10.

MARIAN

A N T I P H O N S

H a r r i s o n 1963, 8 1 - 8 ; H u g l o , ' A n t i p h o n ' , NG. D u r i n g the twelfth and thirteenth centuries the practice arose in many churches of singing an antiphon to the Blessed V i r g i n M a r y as a devotional act in itself, independent of, though often attached to, one of the other services of the day. F o r example, in R o m a n and Franciscan usage since the thirteenth century, four antiphons have been sung at the end of C o m p l i n e , one for each of four seasons i n the c h u r c h year: Regina caeli, Alma redemptoris mater, Ave regina caelorum and Salve regina. H a r r i s o n indicates the large n u m b e r of different practices f o u n d in medieval E n g l a n d ,

10. Marian

Antiphons

105

a n d this is no doubt typical of medieval E u r o p e in general. A n t i p h o n s to the Saviour m i g h t also form part of the devotion. Collective names for such chants are votive, devotional, or commemorative antiphon. Similar antiphons might also be composed for other occasions, but those for the V i r g i n are the most numerous, because of the i m m e n s e enthusiasm for her worship and the multiplication of services in her h o n o u r : a complete cycle of office hours, weekly or even daily mass, and so o n . In practice it is hard to draw a clear line between antiphons fulfilling these various functions. A n antiphon in solemn (that is, ornate) style might serve as a Magnificat a n t i p h o n in one source, as the antiphon for a commemoration at the end of Vespers or C o m p l i n e in another, or elsewhere be assigned to a separate ceremony. M u c h work remains to be done in comparing the repertories of different sources, s t u d y i n g the rubrics in chant-books, ordinals, and customaries, style of the chants themselves. Variae preces, Cantus selecti, and Processionale monasticum.) and in analysing the F e w are available in print (some are published in

A n t i p h o n s had of course been sung as part of the normal o f f i c e hours on feasts of the V i r g i n since early times. M o s t early M a r i a n antiphons are, as we w o u l d expect, simple, largely syllabic pieces indistinguishable musically f r o m the rest. S u c h is, for example, Sub tuum praesidium (Ex. II.10.1), whose text can be traced back to the and which was sung in the Milanese as well as the t h i r d century (Mercenier 1940)

R o m a n rite. A favourite source for such texts was the S o n g of Songs. E x . I I . 1 0 . 1 . M a r i a n a n t i p h o n Sub tuum presidium (Paris, B i b l . N a t . lat. 1139, f o . 126 )
v

'

Sub tu-um presi-di-um confu-gimus

de-i genitrix

nostras deprecati-o~nes ne despici-as

in ne-cessitatibus

set a periculis libera nos Of more ample

sem-per are

uirgo antiphons

be - n e - d i - c t a . which doubled as Magnificat or

dimensions

Benedictus antiphons. O n e such, O virgo

virginum,

was borrowed f r o m the series of psalm-tone regina

impressive O-antiphons. It was of course a simple matter to copy a also be sung in procession, as for example, Alma caelorum in S a r u m use. facta redemptoris mater

cadence at the end of the antiphon if required, or omit it. T h e same antiphons might and Ave

Older texts might be reset in a more ornate style to make them more appropriate for votive use. E x . II. 10 .2 gives Speciosa es in two versions, the first as a simple the office antiphon (in the L u c c a antiphoner for the N i g h t Office at Purification),

E x . I I . 10.2. p . 347; AS
Lucca

M a r i a n antiphon Speciosa facta 529)

es i n two versions ( L u c c a , B i b l . C a p . 601,

Speci-o-sa facta es

et

su-a-uis

in delici-is tu-is

sancta D e - i

ge-nitrix.

Speci-o - sa

f a - c t a es et su-a

- uis

in d e - l i - c i - is

uir-gi-ni-ta-tis

sancta

de-i
i

ge-ni-trix
1

quam ui-den

tes

fi-li-e

Sy-on

uernan-tem in flo-ri-bus ro - sa - rum

et

li - li - is con -

ual-li-um

be-a - tis-si - mam

pre - d i - c a - uerunt

et

re-gi-ne

lauda-ue - runt

e-am.

s e c o n d reset a n d e x t e n d e d f o r p r o c e s s i o n a l use ( i n t h e S a r u m a n t i p h o n e r f o r V e s p e r s of t h e N a t i v i t y of the B l e s s e d V i r g i n ) . T h e great d i f f e r e n c e i n m u s i c a l s t y l e goes b e y o n d t h e d e g r e e of d e c o r a t i v e figuration. T h e s i m p l e L u c c a v e r s i o n uses t h e p o p u l a r is r e q u i r e d ( f o r t h e u n In ' t h e m e 2 9 ' m e l o d y a l r e a d y seen i n E x . I I . 7 . 2 a b o v e . T h e S a r u m m e l o d y g i v e s t h e d i f f e r e n t i a f o r p s a l m t o n e 6 at the e n d , b u t b e c a u s e a bb G r e g o r i a n bb-c-c d e s c e n t g-f-e-d-c Something (Ex. I I . 10.3), of a l m o s t e v e r y p h r a s e t h e m a j o r t r i a d c-e-g the same the musical oldest c a d e n c e s at i i l i i s c o n v a l l i u m ' ) the c h a n t is n o t a t e d u p o n c. ( b r a c k e t e d i n t h e e x a m p l e ) . A l l t h e c a d e n c e s f a l l o n c, e, quality of the pervades four Alma redemptoris Marian possibly best-known

is o u t l i n e d , u s u a l l y f o l l o w e d b y a s t e p w i s e o r g. mater antiphons

( B r u n h d l z l 1967), t h o u g h not o l d e r t h a n the n i n t h c e n t u r y . Its text, i n hexameters, c a l l s u p o n t h e V i r g i n ' s a i d , i n a m a n n e r n o t u n l i k e that of m a n y r o g a t i o n a n t i p h o n s . Regina melody caeli, w i t h its j o y f u l a l l e l u i a s , is c l e a r l y a n E a s t e r a n t i p h o n . I t s but with bb throughout) features short melismas regina caelorum 'F-major' repeat (F-mode with

s t r u c t u r e . Ave

has a text i n r h y m e d v e r s e , i n o c t o s y l l a b i c c o u p l e t s , facta, often pitched on c of t h e m e l o d y is first two facta the t r i a d i c flavour

a n d is yet a g a i n i n t h e ' m a j o r ' m o d e , e x a c t l y l i k e Speciosa w i t h a n o c c a s i o n a l bb\ noticeable. Salve regina is i n t h e D - m o d e ( E x . I I . 10.3). T h e a n d as i n Speciosa

p a r a l l e l i s m of t h e

p h r a s e s , t h e r a p i d s w e e p t h r o u g h t h e w h o l e o c t a v e d-D

at ' m i s e r i c o r d e s o c u l o s ' , a n d

E x . I I . 10.3. F r o m M a r i a n antiphons Alma redempton's mater and Salve regina ( P a l M u s 12, 303 and 352)

Al-

-ma

redempto-ris

ma-ter ...

Sal-ue gemen-tes ...

il-los

tu - os

mise-ri - cor - des o - culos ...

t h e i n s i s t e n c e o n a r e s t r i c t e d n u m b e r of m e l o d i c g o a l s ( n e a r l y a l l c a d e n c e s f a l l o n

D)

m a r k it o u t as a r e l a t i v e l y late p i e c e of m u s i c , of t h e s a m e p o s t - G r e g o r i a n v i n t a g e as t h e o t h e r t h r e e . I n a l l of t h e m , t h e scale is c l e a r l y d i v i d e d t r i a d i c a l l y , w i t h a s t r o n g insistence on the fifth a n d octave. A n o t h e r f e a t u r e of t h e a n t i p h o n s , a n d p a r t i c u l a r l y of Salve regina, is t h e f r e q u e n c y of s h o r t a t t r i b u t i v e , e x c l a m a t o r y , o r s u p p l i c a t o r y p h r a s e s : ' S a l v e r e g i n a . . . s p e s n o s t r a . . . O c l e m e n s , O p i a , O d u l c i s v i r g o M a r i a ' . T h i s t y p e of p h r a s e l e n t i t s e l f w e l l to t h e c l e a r l y o r i e n t e d m u s i c a l p h r a s e s . E x . I I . 10.4 is a n o t h e r p i e c e of t h i s t y p e . ( A l t h o u g h we have just seen e x a m p l e s i n t h i s t o n a l i t y notated o n F a n d c, the s u b - f i n a l h e r e is a l w a y s flat, so G has b e e n c h o s e n as final. A m o d e - 6 d i f f e r e n t i a is n e v e r t h e l e s s g i v e n o n c e a g a i n . T r a n s c r i p t i o n of t h e p i e c e is n o t e n t i r e l y w i t h o u t its p r o b l e m s . ) T e x t r h y m e w a s a n o b v i o u s w a y to b r i n g s u c h e j a c u l a t o r y p h r a s e s i n t o h a r m o n y . T h e h i s t o r y of t h e M a r i a n a n t i p h o n h e r e f o l l o w e d t h e s a m e c o u r s e as t h e o f f i c e i n E x . I I . 10.4. M a r i a n a n t i p h o n Aurei nominis Matia (Paris, B i b l . N a t . lat. 1139, fo. 138 )
r

P P

Au-re - i

no - mi-nis

Ma-ri - a

ma-ter

mi -se - ri - cor-di - e

p a - r a - d i - si por - ta

pecca-to-rum refu - gi - urn speci - a-

-le

bo-

-na

pul-

-chra

O singu - l a -

-ris

post Deum spes no-stra

Ma-ri-a

Ma-ri - a

tu il - la magna

Ma-ri - a

-+*r*
De o fi-li-o tu-o re- c o n - c i - li a.

108 E x . I I . 10.5.

IL Chant M a r i a n a n t i p h o n Trinitatis

Genres (Paris, B i b l . N a t . lat. 1139, fo. 119 )

r

thalamum

m
lau

Tri - ni - ta - tis

ta - la-mum

an-ge - lo - rum glo-ri - am

+, -

et lapsorum

casti - ta-tis balsamum

ue - ni - am

**+
de

totus

'* v
et de - uo - tus

'

^
Dei matrem et precetur

co-rus is-te uene-re-tur

ut

nos

i - ta

sub hac u i - t a

mundos

om-ni

ui - ti-o

caros reddat f i l i - o

~' *
prece pi - us

*
pi - e

U
matris

*
regno

quod ip - si - us

pa-tris

w
ip-

"
ue-ra

'
lu - ce fru-i

' *
do-net

'

-so d u - c e

et co - ro-net

*
ut di - lec-tos

'

J ***},
9

9 J t =

et e - l e c - t o s

lau - re - a t r i - u m -

-pha-

-li.

g e n e r a l , a n d t h e r e are s t y l i s t i c l i n k s w i t h t h e B e n e d i c a m u s s o n g s , c o n d u c t u s , v e r s u s , a n d c a n t i o n e s w h i c h b e c a m e p o p u l a r f r o m t h e 1 1 t h c e n t u r y o n w a r d . E x . I I . 10.5 g i v e s an e x a m p l e of this t y p e . ( T h e D m o d e is i n d i c a t e d by the p s a l m - t o n e d i f f e r e n t i a for mode 1 at t h e e n d . T o n a l l y i t o f t e n b e h a v e s a c c o r d i n g t o the p a t t e r n o u t l i n e d i n E x . I I . 10.3 (see e s p e c i a l l y p h r a s e s 2 - 4 a n d 1 3 - 1 4 ) , t h o u g h a c o u n t e r i n g C-E-G is

s o m e t i m e s noticeable (lines 1 5 - 1 7 ) . A n o t h e r feature seems more archaic, h o w e v e r : n o n e o f t h e n u m e r o u s s h o r t p h r a s e s is r e p e a t e d . ) T h e m o s t p o p u l a r o f t h e a n t i p h o n s , not s u r p r i s i n g l y , r e c e i v e d a t t r i b u t i o n s to s u c h w o r t h y m u s i c i a n s as H e r m a n n u s C o n t r a c t u s . V e r y f e w of these a t t r i b u t i o n s 5 and 1983). have s t o o d u p t o c r i t i c a l s c r u t i n y ( f o r i n f o r m a t i o n o n i n d i v i d u a l p i e c e s , see S z o v e r f f y 1964

11.11. (i) I n t r o d u c t i o n (ii) Introits i n M o d e 3

I N T R O I T S

(iii) C o m p a r i s o n w i t h Office A n t i p h o n s a n d Responsories C a r d i n e 1947; F r o g c r 1948, ' I n t r o i t ' ; S t a b l e i n , ' I n t r o i t u s ' , MGG; C o n n o l l y 1972, ' I n t r o i t s and C o m m u n i o n s ' , 'Introits a n d A r c h e t y p e s ' ; Steiner, ' I n t r o i t ' , NG; H u c k e 1988, ' F r a g e n ' . (i) Introduction

T h e i n t r o i t m a y b e c o n s i d e r e d as a s p e c i a l f e s t a l t y p e o f a n t i p h o n , t h e m o r e so b e c a u s e i n e a r l i e r t i m e s it s e e m s to h a v e b e e n s u n g w i t h s e v e r a l p s a l m v e r s e s , p e r h a p s e v e n a complete p s a l m . I n the earliest b o o k s w i t h chant ad repetendum, texts, of the e i g h t h a n d ninth Introit c e n t u r i e s , o n l y o n e p s a l m verse u s u a l l y r e m a i n s . I n s o m e cases, h o w e v e r , v e r s e is t o b e f o u n d , t h e Versus g i v i n g t h e o v e r a l l f o r m (I = another

a n t i p h o n , Ps = P s a l m verse, G l = d o x o l o g y , V a d R = V e r s u s ad r e p e t e n d u m ) : I_P _I_G1-I

S

[-VadR-I]

T h e s e Versus

ad repetendum

appear i n b o t h the earliest F r a n k i s h sources a n d the O l d

R o m a n ones, also for the c o m m u n i o n . P r a c t i c a l l y all i n t r o i t texts were t a k e n f r o m the B i b l e , t w o - t h i r d s f r o m the p s a l m s . T h o s e for the first seventeen o r d e r of t h e p s a l m s . I n t r o i t m e l o d i e s are n o t easy to t y p i f y . T h e y d o n o t f a l l i n t o m e l o d i c f a m i l i e s , n o r , a p a r t f r o m a f e w o p e n i n g s a n d c a d e n c e s , are s t a n d a r d p h r a s e s to b e f o u n d w h i c h l i n k chants across the r e p e r t o r y . T h i s m e a n s that they seem m u c h m o r e i n d i v i d u a l t h a n m o s t o f f i c e a n t i p h o n s . O f c o u r s e , t h e r e are far f e w e r i n t r o i t s i n m o s t m e d i e v a l c h a n t b o o k s , less t h a n 150 i n t h e earliest s o u r c e s . A n t i p h o n e r s a n d b r e v i a r i e s w i l l c o n t a i n t e n t i m e s that n u m b e r of a n t i p h o n s , w h i c h m a k e s m u l t i p l e use of m e l o d i e s o r p a r t s of m e l o d i e s i n e v i t a b l e . W i t h t h e i n t r o i t s it is a l m o s t as if t h e r e e x i s t e d a c o n s c i o u s d e s i r e to^make e a c h c h a n t r e c o g n i z a b l e i n its o w n r i g h t , r a t h e r t h a n s i m p l y p a r t o f a c l a s s o r genre. C o n n o l l y (1972, 'Introits a n d A r c h e t y p e s ' ) m a d e the i n t e r e s t i n g o b s e r v a t i o n that s o m e O l d R o m a n i n t r o i t m e l o d i e s are c l o s e l y r e l a t e d to e a c h o t h e r , whereas the G r e g o r i a n m e l o d i e s f o r the s a m e t e x t s are n o t . Y e t a s i m i l a r i t y is d i s c e r n i b l e b e t w e e n e a c h i n d i v i d u a l O l d R o m a n m e l o d y a n d its G r e g o r i a n c o u n t e r p a r t . T h i s s u g g e s t e d to C o n n o l l y that i n t r o i t s once s u n g to the same basic m e l o d y ( s o m e t h i n g l i k e the O l d R o m a n v e r s i o n ) ' g r e w a p a r t ' o n t h e w a y t o a c h i e v i n g t h e i r G r e g o r i a n s t a t e . It c o u l d e q u a l l y b e a r g u e d that m e l o d i e s o n c e d i f f e r e n t (as t h e G r e g o r i a n o n e s are) g r e w m o r e s i m i l a r b e t w e e n t h e t i m e of the G r e g o r i a n r e d a c t i o n ( n i n t h c e n t u r y ) a n d t h e d a t e of the e a r l i e s t O l d R o m a n s o u r c e s ( e l e v e n t h c e n t u r y ) . If s t a n d a r d p h r a s e s c a n n o t be i d e n t i f i e d , h o w are w e to c o m e t o g r i p s w i t h the S u n d a y s after Pentecost have texts i n the n u m e r i c a l

substance of the melodies? What makes them appropriate for their liturgical function? T h e following should of course be regarded merely as preliminary remarks about only a small part of the repertory, which may suggest lines of approach for the rest. In describing melodies I have found it useful to concentrate on such features as the pitches most favoured (usually some sort of gapped scale is utilized, where certain notes, often E and b, are avoided or approached and quitted only b y step), ornamental figures, the role of recitation, and the degree of mobility in individual phrases (their range and rapidity of movement). A m o n g the 140-50 introits in the earliest sources, there are about two dozen F mode melodies, about thirty G - m o d e , about four dozen D - m o d e , and about four dozen E - m o d e melodies. T h e distribution throughout the year is not very even. F o r example, modes 1, 2, and 3 provide the majority of introits for saints' days. D - m o d e melodies are absent from Passion Sunday to Pentecost. Melodies i n the same mode rarely occur in close proximity, an exception being the three mode 3 melodies on the E m b e r D a y s at Whitsuntide (characteristically, however, these are no more closely related melodically than others in the same mode). (ii) Introits in Mode 3

In the oldest sources twenty-six melodies are assigned to mode 3. T h e s e may give some idea of the cohesion of the introit repertory as a whole. A l l quotations are taken from Hansen's transcription of the D i j o n tonary, M o n t p e l l i e r , Faculte de M e d e c i n e H . 159. In this source the chants appear in tonal order, so that it is relatively easy to compare melodies for their likenesses and dissimilarities. T h e openings are the most conventional feature of the mode-3 introits. Nearly all begin on G and rise to c in the first phrase, perhaps with an additional preliminary clause starting on E or F. E x II.11.1 shows progressively more involved openings which follow this basic pattern: (a) simple rise Gc, the first syllable being acented; retains G (in this source: the treatment of such cliches occasionally differs from manuscript to manuscript); (c) a decorated form of (b), where the second syllable in a three-syllable w o r d is accented; (d) preliminary E, ED, clarnavi, (/) or EFD\ the last two examples, Ego autem D-G\ and Ego use the decorative turn in (c); (b) rise through a; but Benedicite

(e) the rise to c may be delayed within the lower tetrachord very c o m m o n i n other phrases also.

shows a flourish around the final c\ the substitution of adc for the simple ac is

T h e choice of opening depends on the importance of the opening words in the text as a whole: i n (a) the opening word is one of the most important in the phrase, whereas in (e) the key words come later. T h e n there are the usual adjustments for accentuation. M a n y of the ground-rules for introit openings have been outlined b y H u c k e (1988, 'Fragen').

11.

Introits

111

E x . I I . 1 1 . 1 . M o d e 3 introit openings ( M o n t p e l l i e r , Faculte de M e d e c i n e H . 159)

Ti-bi -V / (A\ Z m fm m de-o

Om-ni-a /Jw s m m So Libera-tor m me(-us) fm m m Bene-di-cite

In

In n o - m i - n e

Lo-que Ti-me
d

tur te rmm t\ *
1

Con-fes-si-o

0 9

Si i-niquitates

0H m Re-ple-a-tur
m

*'

E-go

/ ' '

mmm E-go

f~0 4 *0

au - tem

cla-ma
0* * *

ui
-1

~v~ e JL

,
ad

7=\ A *

Dum cla-marem

do-minum

0k

m*

0*

' 1 mww 0
m

w*

*0
m

V o - c e m iu-cun-di-tatis

Sacer - do - tes

tu-i

do(mine)

0tt0 ip m Ec - ce Cog-noSperent

0 o - cu - li -vi in te

do do do

mi-ni mi-ne mi-ne

T h e c a d e n c e s are n o t q u i t e so c o n v e n t i o n a l , e x c e p t i n t h e last f e w n o t e s . P r a c t i c a l l y e v e r y c a d e n c e t o u c h e s o n t h e n o t e s E-G-F-E i n that o r d e r , n a t u r a l l y w i t h r e p e t i t i o n s o r e x t r a i n s e r t i o n s ; it s e e m s i m p o r t a n t t h a t t h e f i n a l E b e a n t i c i p a t e d o r p r e p a r e d . A s w e s h a l l s h o r t l y see, m a n y p h r a s e s t e n d to h a n g a r o u n d e i t h e r h i g h c o r m i d d l e G , a n d m o s t c a d e n c e s p r o c e e d f r o m o n e o r t h e o t h e r of these t w o . T h e c a d e n c e s , i l l u s t r a t e d i n E x . I I . 1 1 . 2 , are g r o u p e d as f o l l o w s . (a) (b) a r a p i d d e s c e n t f r o m c\ m o r e g r a d u a l d e s c e n t f r o m c ; a p a r t f r o m the first e x a m p l e , ' m i h i c a n / , t h e s e h a v e t h e m o s t c o m m o n c l o s i n g figure EGFF h i g h c b e f o r e t h e r u n - i n to t h e (c) (d) bb i n t h e c l o s i n g p h r a s e ; c a d e n c e s w h i c h p r o c e e d f r o m a n o r i e n t a t i o n a r o u n d G also f a v o u r t h e FE e n d i n g , o t h e r w i s e aGFGFE E. EGFF cadence; FE\ s o m e s h o w a n i n i t i a l rise t o

T h e s e e x a m p l e s d o n o t , of c o u r s e , e x h a u s t a l l t h e o p e n i n g s a n d c a d e n c e s of t h e m o d e 3 i n t r o i t s , o n l y t h o s e w h i c h m a y e a s i l y b e c o m p a r e d . W h a t is n o t i c e a b l e , i n f a c t , is t h a t so m a n y c h a n t s are d i s s i m i l a r . A g o o d d e a l of t h e l i k e n e s s b e t w e e n r e s p o n s o r i a l c h a n t s w a s d u e t o t h e p r e s e n c e of c a d e n t i a l m e l i s m a s , a n d t h e s e are a b s e n t h e r e . Of c o u r s e , t h e p h r a s e s are m o u l d e d i n a c c o r d a n c e w i t h the w o r d s b e i n g set t o m u s i c , a n d

112

II.

Chant

Genres

E x . 11.11.2. M o d e 3 i n t r o i t cadences ( M o n t p e l l i e r , F a c u l t e de M e d e c i n e I I . 159)

Intret oracio, l i b e r a t o r Tiroete dominum

doIn Deo

o-

- m n i bo - no. Si iniquitates

miDum clamarem
-0

-hi

ca

ro.

De - us

Is - ra - hel. Vocem iocunditate

Av

ip-se

'

' g i ^ f i ' *&

a <

Z7Z-

^ r ^ i i
e-

te

"

- n u - t r i - et. Loquetur

<

'

1f al - le0
9

* .

- l u - ia.

Karitas Dei

al - l e Ecce oculi

-lu -

ia.

con - uer-tun - tur Sacerdotes t u i

ad

ip - sum. Dum sanctificatus

mm

al - l e Tibi d i x i t

- l u - ia. In nomine

Chri - sti

tu- - i .

spi-n-tum Coqnoui

no - uum.

Ego autem

tu-um

me.

pa-

-t ris.

su-o-

-rum.

re-pel-

-las.

variety is o n l y to b e e x p e c t e d , b u t even so, s u r p r i s i n g l y f e w cadences are a c t u a l l y i d e n t i c a l a p a r t f r o m t h e last s e v e n o r e i g h t n o t e s . S u c h s i m i l a r i t y as e x i s t s c o n c e r n s e i t h e r s m a l l o r n a m e n t a l t u r n s a r o u n d o n e o f t h e structurally i m p o r t a n t notes, o r the general character of the phrase. B y the latter I m e a n s u c h f e a t u r e s as t h e f o l l o w i n g : m a n y p h r a s e s b e g i n w i t h a rise u p t o c , t h e n d w e l l o n c b e f o r e f a l l i n g d o w n t o a l o w e r n o t e , b, a, G , a n d E b e i n g t h e m o s t c o m m o n . W i t h i n t h i s b r o a d o u t l i n e a great deal of v a r i e t y is n a t u r a l l y p o s s i b l e . O n e c a n n o t , however, characterize these phrases m u c h m o r e specifically. A m o n g the m o d e 3 introits, phrases of this type o u t n u m b e r all others, m a n y introits h a v i n g m o r e than one s u c h . A g o o d p r o p o r t i o n centre o n G . O t h e r phrases w i t h a clear focal p i t c h are m u c h rarer, a n d phrases w h i c h m o v e d i r e c t l y f r o m o n e p i t c h to another, o r a v o i d a p o i n t of repose i n s o m e m o r e c o n v o l u t e d w a y , are also relatively u n c o m m o n . E x . I I . 1 1 . 3 g i v e s e x a m p l e s o f p h r a s e s w h i c h d w e l l o n c, a l m o s t as o n a r e c i t a t i o n t o n e , a n d f a l l t o G . T h e r e s e e m t o b e s e v e r a l figures w h i c h m a y b e u s e d to d e c o r a t e t h e c: ccc, ccca, descent cdc, cdcc, p e r h a p s acbc a n d cabchc as w e l l . T h e w a y s of a t t a i n i n g c f r o m seen most simply in a l o w e r p i t c h h a v e a l r e a d y b e e n s e e n ( E x . I I . 1 1 . 1 ) . T h e r e is l i t t l e c o n s i s t e n c y i n t h e t o G , t h o u g h n e a r l y a l l p r o g r e s s t h r o u g h c-a-G, ' d o m i n u s ' , ' i l l i s ' , a n d Maude t u a ' . T h e last t h r e e e x a m p l e s are m o r e h i g h l y o r n a m e n t e d t h a n t h e rest.

E x . 11.11.3. Recitation a r o u n d c i n m o d e 3 introits ( M o n t p e l l i e r , F a c u l t e de M e d e c i n e I I . 159)

Deus dum egrederij Intret oracio

i I
jt_ fr\

ha-

-bi-tans in i l -

-lis Liberator

In-tret o - r a -

- c i - o me - a Timete

Vocem iocunditatis

li-be-rauit

do - minus

e-xal

ta - bis
:

me

inquiren - tes

au-tem do - minum

"fl

?m m w m m mam /* t P * 'M m * 'M m Re-ple - a-tur os meum laude t u -a

0 9

1 1I
9

--fil
0 * 0 * - u i d ser

J
0

^
*JJ}m mi{
9

propter D a ^

- uum t u -n n s-\ f T Or -mum terre 1

Dum sanctificatus i a-quam ^Km -n

Vocem i o c u n d i t a t i s

mun - dum

nun-ci - a - te us-

-que ad extre-

T h e r e c i t a t i o n , if w e m a y c a l l it t h a t , m a y n o t r e s t r i c t i t s e l f t o o n e n o t e , b u t b e a s o r t o f o s c i l l a t i o n b e t w e e n t w o p o l e s . I n E x . I I . 1 1 . 4 t h e t w i n p o l e s of G a n d c s e e m t o h a v e e q u a l a t t r a c t i v e f o r c e . It is n o c o i n c i d e n c e t h a t b is r a r e i n t h e last e x a m p l e , a n d t h a t we have been discussing openings and cadences with G , a, and c as t h e most i m p o r t a n t p i t c h e s . T h i s reflects t h e p e n t a t o n i c o r i e n t a t i o n of v e r y m a n y c h a n t s , w h e r e E a n d b are o f t e n a v o i d e d o r a p p r o a c h e d a n d q u i t t e d o n l y b y s t e p . I n e f f e c t , t h e n , a l a r g e p r o p o r t i o n of t h e p h r a s e s i n m o d e 3 i n t r o i t s a d u m b r a t e t h e r i s e G-a-c, c as a r e c i t a t i o n n o t e , t h e n f a l l to b o r d e s c e n d p e n t a t o n i c a l l y t o a
y

dwell on The same

G , o r E.

s o r t of t h i n g m a y be seen i n o t h e r i n t r o i t s , e x c e p t t h a t t h e s e l e c t i o n of s t r u c t u r a l l y i m p o r t a n t t o n e s w i l l be d i f f e r e n t . F o r t h e p l a g a l m o d e s ( m o d e 4 t o a n e v e n e x t e n t t h a n the o t h e r s ) , F is i m p o r t a n t f o r r e c i t a t i o n . greater

E x . I I . 11.4.

F r o m introit Ecce oculi ( M o n t p e l l i e r , Faculte de M e d e c i n e H . 159, p . 35)

S* su-per ti - mentes e-

0 -urn sperantes in mi-se - ri - cordi-a e - ius

7T1
a l - l e - lu-la ut e-n-piat a mor-te

a - ni - mas e -

o-

-rum

quoni - am ad-iu - tor et p r o t e c - t o r

noster

est

( i i i ) Comparison

with Office Antiphons

and

Responsories

W h i l e t h e o f f i c e a n t i p h o n s s h a r e w i t h i n t r o i t s m a n y of t h e s a m e s t r u c t u r a l t o n e s a n d m e l o d i c g o a l s , t h e i r m a i n l y s y l l a b i c s t y l e m a k e s t h e m less s t a t i c . The introit can achieve i n a short m e l i s m a the m e l o d i c m o v e m e n t that w o u l d need several s y l l a b l e s i n a n o f f i c e a n t i p h o n . I n the i n t r o i t t h e r e is t h e r e f o r e m o r e t i m e to d w e l l o n r e c i t a t i o n n o t e s . N o r w o u l d t h e o r n a m e n t a t i o n of r e c i t a t i o n n o t e s be a p p r o p r i a t e i n a n o f f i c e antiphon. Ex. I I . 11.5 g i v e s t h e m o d e 3 a n t i p h o n Dominus II.7.3), legifer noster, it t h e a member introit The Timete of a Timete is melodic f a m i l y already cited ( E x . dominum. and underneath

It is n o t s u g g e s t e d h e r e t h a t t h e t w o m e l o d i e s are d i r e c t l y r e l a t e d ; b u t t h e i r example

m e l o d i c o u t l i n e s , at t h e i r v e r y s i m p l e s t , are at least c o m p a r a b l e . Ex. I I . 11.5. A n t i p h o n Dominus legifer noster (AS, k) and introit

Dominum

( M o n t p e l l i e r , F a c u l t e de M e d e c i n e H . 159, p . 44)

Do-mi-nus legifer noster

T i - me

te do-mi-num om - nes sancti

e-ius

do-minus rex

noster

quo - ni-am ni-hil

de-est ti-menti-bus

e-

lp-se ue-ni-et

di - uites

e-gu - erunt

et

e-xu-ri-e-

-runt

inqui-ren - tes

autem do - minum

et

sal-ua-bit

nos.

non

de

fi

ci-

-ent

om-

-ni

bo

intended to display the difference in musical manner between the two. T h e first phrase of each rises to c, dwells there, dips temporarily to a, then cadences from c d o w n to b. cadences T h e second phrases are similarly comparable, except that the introit instead of G . T h e next introit phrase, a recitation on G , has no on E

counterpart in the antiphon, but the last two phrases are comparable. T h e ornamental figures in the introits occasionally recall those of responsories. A l t h o u g h it is generally true that Gregorian chant genres do not share melodic formulas, some introits have figures used elsewhere. F o r example, the more ornate cadences in E x . II. 11.2 and 3 may be found in office responsories. C o m p a r e : E x . I L I 1.2 (d) Ecce E x . II. 11.2 (c) Karitas E x . II. 11.3 Sacerdotes oculi, etc. with Frere in AS, (E3); (g2). Intro., 31 (E2); dei with Frere, 34 tui with Frere, 30

T h i s does not mean, however, that there is a generic link between introit and responsories (and even if there were, which would come first?). W e are dealing here with the c o m m o n coin of Gregorian chant. Nevertheless, most of the ornate cadential figures which provide strong links between responsories are absent from introits, and the responsories are richer in short melismas of 7-11 notes. Furthermore, the groups of repeated cs or Fs which characterize introits are rare in responsories. But these are in any case surface details. What of the melodic backbone? Scanning Frere's examples of mode 3 and mode 1 responsories ( A S , Introduction, 2 9 - 3 2 and 17-28 respectively), one does indeed find similarities. Y e t a n d despite the obvious presence of recitationmost phrases in responsories are more mobile than those in introits, that is, they move more readily through the range of a fifth or more. M u c h more space would be needed to characterize successfully the introits of other modes. Since it plays an important part, a few remarks on recitation may conclude this section. T h e role of either F or c as reciting notes in all modes deserves further study. O n l y these two notes carry groups of two, three, or more repeated notes as an T a b l e 11.11.1. Reciting notes in introit melodies Mode F a v o u r e d reciting notes lower 1 2 3 4 5 6 7 8 F F G or a F a F c G (rarely a) higher a F c G (rarely a) c G , a or c d c a F c a c F,a d c P s a l m verse

ornamental

figure

( t h e s o - c a l l e d repercussi).

T h e f a v o u r e d notes i n each Since F

mode, is t h e

u s u a l l y d i v i d e d b e t w e e n h i g h e r - a n d l o w e r - l y i n g p h r a s e s , are g i v e n i n T a b l e 1 1 . 1 1 . 1 (together w i t h the reciting note for the c o r r e s p o n d i n g p s a l m tone). final, a n d a a n d c a r e s t r u c t u r a l l y i m p o r t a n t n o t e s , m o d e 5 i n t r o i t s are p a r t i c u l a r l y

t r i a d i c . M o d e 7 i n t r o i t s , o n t h e o t h e r h a n d , d i s p l a y a t e n s i o n b e t w e e n c a n d d, t h e l o w e r phrases h a n g i n g a r o u n d r , the h i g h e r ones not able to sustain a n y r e c i t i n g note higher than d.

11.12. (i) General

C O M M U N I O N S

(ii) G r o u p s of C o m m u n i o n s with Psalm a n d G o s p e l T e x t s (iii) Some F - m o d e C o m m u n i o n s (iv) C o m m u n i o n s and Responsories Stablein, ' C o m m u n i o ' , MGG; (i) General et videte quoniam M u r p h y , 1977; H u c k e and H u g l o , ' C o m m u n i o n ' , A G .

T h e t e x t o f o n e o f t h e earliest c o m m u n i o n c h a n t s w a s Gustate suavis est dominus,

f r o m P s . 3 3 , d o c u m e n t e d i n d e s c r i p t i o n s of m a n y e a r l y r i t u a l s .

( T h i s v e r s e s u r v i v e s f o r t h e m a s s of t h e e i g h t h S u n d a y a f t e r P e n t e c o s t , t h o u g h w e h a v e n o m e a n s of k n o w i n g h o w its m u s i c r e l a t e s t o t h e c h a n t of t h e e a r l y c h u r c h e s . ) A t s o m e t i m e a c y c l e o f c h a n t s w a s d e v e l o p e d so that e a c h m a s s h a d i t s o w n p r o p e r c o m m u n i o n . L i k e the i n t r o i t , the c o m m u n i o n chant appears w i t h a p s a l m verse or v e r s e s i n t h e earliest c h a n t - b o o k s (list of s o u r c e s i n H u g l o 1971 Tonaires, t h e s e f e l l o u t o f use a f t e r t h e t u r n o f t h e m i l l e n i u m . C o m m u n i o n s are a m o n g t h e m o s t p u z z l i n g of c h a n t s . T h e r e are i n c o n s i s t e n c i e s a n d i r r e g u l a r i t i e s i n a l m o s t e v e r y a s p e c t of t h e r e p e r t o r y . T h e i r t e x t s are p r a c t i c a l l y a l l b i b l i c a l , b u t o n l y a l i t t l e o v e r t w o - f i f t h s are t a k e n f r o m t h e p s a l m s . M o s t of t h e rest c o m e f r o m t h e G o s p e l s , a n d o f t e n s e e m t o s u m u p t h e t h e m e o f t h e m a s s i n q u e s t i o n ; q u i t e o f t e n t h e y are t h e r e f o r e a verse f r o m t h e g o s p e l o f t h e d a y , o r at least f r o m t h e s a m e c h a p t e r of t h e N e w T e s t a m e n t . g e n r e h a s t h i s t y p e o f s e l e c t i o n of t e x t s . C o m m u n i o n s i n t h e o l d e s t s o u r c e s are r o u g h l y as n u m e r o u s as i n t r o i t s , b u t t h e p r o p o r t i o n s a s s i g n e d t o d i f f e r e n t m o d e s are d i f f e r e n t ( w h e r e t h e s o u r c e s a g r e e , f o r t h e m o d a l t r a d i t i o n of m a n y c o m m u n i o n s is u n s t a b l e ) . D - m o d e m e l o d i e s ( o v e r f o r t y ) a r e the most n u m e r o u s , closely f o l l o w e d b y G - m o d e ( a r o u n d f o r t y ) . F - m o d e ( a r o u n d t h r e e d o z e n ) o v e r t a k e E - m o d e p i e c e s (less t h a n t h i r t y ) . E a r l y d e s c r i p t i o n s of t h e p e r f o r m a n c e of t h e c h a n t , a n d t h e fact t h a t e a r l y s o u r c e s h a v e a p s a l m v e r s e , p e r m i t o n e to c a l l t h e c o m m u n i o n c h a n t a n a n t i p h o n w i t h p s a l m . I n t h i s it is d i r e c t l y c o m p a r a b l e w i t h t h e i n t r o i t . Y e t i n m u s i c a l c h a r a c t e r it r e s e m b l e s t h e i n t r o i t o n l y i n t e r m i t t e n t l y . S o m e c o m m u n i o n s are v e r y s h o r t , o t h e r s as l o n g as t h e melodies N o other chant 401-2), but

most

ample introits; some are

like simple office antiphons, others

m u c h more

elaborate. B o m m (1929) discusses no less than forty-six c o m m u n i o n s over whose modality medieval manuscripts or theorists disagree (see also F l e m i n g 1979). In some of these cases quite different melodies are in fact at issue. O n e group of L e n t e n c o m m u n i o n s with gospel texts appear to have had very simple melodies at first, which were frequently replaced by later editors in order to bring the chants musically into line with the somewhat more ornate style prevailing elsewhere. If this is what happened (it has been argued that the simple melodies may originate in the seventh century), it supports the idea that the c o m m u n i o n repertory is composed of several stylistic layers (for the L e n t e n c o m m u n i o n s see V I . 6 . x below). A n o t h e r peculiarity of the repertory is that a n u m b e r of c o m m u n i o n s share a text with an office responsory, and sometimes the music of the two chants seems to be related. S u c h is the variety among c o m m u n i o n chants that one suspects they may have been culled from several different sources. Perhaps there was something haphazard about the compilation of the repertory, new antiphons being brought in f r o m , say, the office, when a new mass formulary was introduced. O r perhaps older c o m m u n i o n s kept their h o n o u r e d place when new pieces in more m o d e r n style were composed. T h e following remarks can pretend to do no more than highlight a few groups in this multifarious repertory.

(ii) Groups

of Communions

with Psalm

and Gospel

texts

T h e r e are several seasons of the year when c o m m u n i o n chants with psalm texts predominate, others when a block of gospel texts appears. O n two occasions the psalm texts are arranged in numerical order: for the weekdays of L e n t and for the Sundays after Pentecost. T h e s e arrangements could be retrospective, that is, the original order could have been non-numerical ( M u r p h y 1977, plays a role here as well). In the case of the post-Pentecost Sundays, the numerical ordering affects the introits and offertories as well. In the c o m m u n i o n s the selection of texts is not quite consistent, for in both L e n t and post-Pentecost series some gospel texts intervene. T h e sources of the texts for most c o m m u n i o n s , as for other chants, can easily be checked in Wagner (see the table at the end of Wagner I). Besides the two long series of psalm texts in L e n t and after Pentecost, there are other groups of psalm and gospel texts: Psalms: Sundays from Septuagesima to Quadragesima Sunday 4 (mode 1, 8, 1, 3, 5, 1, 4) Gospels: the three Sundays after E p i p h a n y (mode 1, 6, 7) Easter S u n d a y , and ferias, to the fourth Sunday after Easter (mode 6, 6, 7, 8, 7, 1, 2, 6, 2, 8, 8) Sunday after Ascension to the end of Pentecost week (mode 4, 5, 7, 8, 5, 3) 144 ff. argues, however, that theme

F r o m a m u s i c a l p o i n t of v i e w , h o w e v e r , t h e r e s e e m s t o be l i t t l e s t y l i s t i c u n i t y w i t h i n these g r o u p s . T h e r e a r e , of c o u r s e , t h e c o m m o n p h r a s e o p e n i n g s a n d e n d i n g s ( t h o u g h n o t t h e l e n g t h y m e l i s m a s w h i c h m a r k c a d e n c e s i n r e s p o n s o r i a l c h a n t s ) w h i c h c a n be f o u n d t h r o u g h o u t t h e c h a n t r e p e r t o r y . B u t c o n s i s t e n c y of f o r m is a b s e n t . A s w i t h introits, many phrases may be construed as intonation-recitation-cadence, but b e y o n d t h i s it is d i f f i c u l t t o g o , f o r t h e w a y s of e l a b o r a t i n g t h i s s i m p l e i d e a ( a n d o t h e r b a s i c s h a p e s ) are i n f i n i t e .

( i i i ) Some F-mode

Communions 6

T h e g r o u p of E a s t e r t i d e c o m m u n i o n s w i t h g o s p e l t e x t s i n c l u d e s t h r e e i n m o d e which may serve as examples of e l a b o r a t e d recitation manum). (Ex. II. 12.1). The c o m m o n c a d e n c e w h i c h t h e t h r e e use v e r y o f t e n is FGF s u c c e e d i n g ' a l l e l u i a ' , ' a l l e l u i a ' at t h e e n d of Mitte i n t h e F m o d e , FGbbaGF^G end of Pascha nostrum, GF,

only

F ('veritatis', ' P e t r o ' a n d the A n o t h e r cadence c o m m o n nostrum, and

a p p e a r s o n l y o n c e , at t h e e n d of Pascha last two b e i n g the

t h e n i n m o d i f i e d f o r m . T h e r e are t h r e e C - c a d e n c e s ( ' e p u l e m u r ' , t h e first a l l e l u i a at t h e a n d 'fidelis', the same), otherwise

E x . 11.12.1. M o d e 6 c o m m u n i o n s ( M o n t p e l l i e r , Faculte de M e d e c i n e H . 159)

Pascha

nostrum

im-mo-la-tu(s)

est Christus

al-le - lu -

ia

F r * =

-que e-pu - le - mur in a- z i - m i s sin-ce-ritatis et ue-ri-ta-tis

i - ta-

al-le-

- l u - ia

al-le-

- l u - ia

al-le-

-lu-

-ia.

Sur-re-xit

do -

minus

et

ap-pa-

-ru-it

Pe-tro

al-

-le-

-lu-ia.

71

(transposed down a

5th)
* 3

Mit-te

manum tu-am

et

cognosce l o - c a clauorum a l - l e - l u -

-ia

H3

et

no-li es-se incre-dulus sed fi-de

lis

a l - l e - l u - ia

al - le-

- l u - ia.

practically all cadences are on F . It is also difficult to construe many of the phrases as a n y t h i n g other then decorated recitation around F . F o r example, 'itaque e p u l e m u r ' has a momentary dip DCD, central tone F immediately balanced by t o u c h i n g on aga, so that the manum, G is not seriously challenged. In the first phrase of Mitte

features as an alternative to F , mostly for accented syllables; a is secondary, using some of excess energy of the rise from F to G in ornamental turns. T h e basic shape of the phrase is bipartite, with both sections rising to G : F F G Had G F G | | F F G F F F F F G

Mit-te m a - n u m tu-am | | et cog-nos-ce lo-ca c l a - v o - r u m the use of standard phrases been the n o r m , the 'alleluia' phrases in these nostrum are least dominus has already started out more adventurously. Its 'alleluia' tetrachord d o w n to the C-F aG . . . range. T h e r e FDEDC-FDE F-G c o m m u n i o n s could easily have been identical. T h o s e in Pascha striking. Surrexit then moves unexpectedly out of the F-bb DC.

are repeated groups of notes in both these clusters: ab aG-ab In the absence of a notational sign for Eb, manum in some sources. In Mitte Eb-G-bb. Dicit

the whole chant is transposed up a fifth

(transposed for the same reason), the long

recitation just cited leads into an 'alleluia' which cadences on G by way of the t r i c h o r d T h e final 'alleluia' phrases are different again. dominus implete, for the second Sunday after E p i p h a n y , has features in

c o m m o n with these, but develops an interesting sequel w h i c h seems to be a direct response to the text being set. T h e underlying notes in the first phrases seem to b e : D i c i t dominus implete hydrias aqua et ferte architriclino d u m gustasset architriclinus E x . I I . 12.2. C o m m u n i o n Dicit Dominus implete hydtias 11. 159, p . 61) F-a F F-G-a . . . - G . . . . . . -G-F F-G-aaG-F-G-GF ( M o n t p e l l i e r , F a c u l t e de M e d e c i n e

Dicit

do-

-mi

nus

implete hy-dri - as

a - qua

et f e r - t e a r c h i - t r i - c l i -

-no

dum gus-tas - set

archi-tri - c l i -

-nus

a-qua ui-num

factum d i -

- c i t sponso

ser-ua-sti ui-num bo-num

us-

-que adhuc

hoc signum fe-cit Hie-sus pri-mum coram dis-ci - pu - lis su-is.

T h e w o r d s of t h e g u e s t , ' T h o u hast k e p t t h e g o o d w i n e u n t i l n o w ' , m o v e r i g h t o u t o f t h i s r a n g e , w h i c h is w h y t h e c o m m u n i o n is s o m e t i m e s c l a s s e d i n m o d e 5 i n s t e a d o f t h e m o d e 6 s u g g e s t e d so f a r . A f u r t h e r s u r p r i s e c o m e s i n t h e last l i n e , a s i m p l e n a r r a t i v e statement: ' T h i s b e g i n n i n g of m i r a c l e s d i d J e s u s b e f o r e h i s d i s c i p l e s . ' F o r t h e f i r s t t i m e t h e c h a n t is a l m o s t c o m p l e t e l y s y l l a b i c .

( i v ) Communions

and

Responsories

S i n c e b o t h c o m m u n i o n s a n d r e s p o n s o r i e s d r a w u p o n t e x t s w h i c h h a v e b e e n r e a d as l e s s o n s , i n s t e a d of r e l y i n g as h e a v i l y as o t h e r c h a n t g e n r e s o n t h e B o o k of P s a l m s , it is p e r h a p s n o t s u r p r i s i n g t h a t t h e y s h a r e a n u m b e r of t e x t s . I n t h e O l d R o m a n c h a n t r e p e r t o r y s o m e of t h e m e l o d i e s are also s h a r e d ( M u r p h y 1977, i . 481 f f . l i s t s t w e n t y o n e c a s e s of n e a r i d e n t i t y ) . T h i s is m u c h less e v i d e n t i n t h e G r e g o r i a n r e p e r t o r y : p e r h a p s t h e case c o u l d b e a r g u e d f o r t h r e e o r f o u r m e l o d i e s . O n e s u c h is Diffusa gratia, est g i v e n i n E x . I I . 12.3 i n i t s S a r u m v e r s i o n b o t h as c o m m u n i o n a n d r e s p o n s o r y appear i n the c o m m u n i o n , standard F-cadences shape seem i n the r e s p o n s o r y . and cadences on F , The the

(the v e r s e of t h e r e s p o n s o r y is o m i t t e d ) . It n e e d n o t t r o u b l e us u n d u l y t h a t s t a n d a r d F-cadences s i m i l a r i t i e s of u n d e r l y i n g p h r a s e r e s p o n s o r y * r i s e s a f i f t h D-A l a r g e l y i n d e p e n d e n t of t h i s , except

p e r h a p s at ' p r o p t e r e a ' , w h e r e t h e c o m m u n i o n rises a f i f t h F-c g r a c i a ' , d w e l l s o n F b e f o r e d e s c e n d i n g toD. Communions, different therefore, are

a n d c a d e n c e s o n F . T h e f i r s t p h r a s e i n b o t h , ' D i f f u s a est A f t e r 'propterea', already m e n t i o n e d , the i n style, and point in remains many of a

t w o m e l o d i e s r e u n i t e d u r i n g ' b e n e d i x i t ' a n d r u n s i m i l a r c o u r s e s to t h e e n d . highly inconsistent and directions, musically liturgically. T h e impression

f r a g m e n t e d r e p e r t o r y , t h e i n v e s t i g a t i o n of w h o s e l a y e r s of m a t e r i a l is o n e of t h e m o s t i n t r i g u i n g tasks f a c i n g s c h o l a r s h i p . E x . I I . 1 2 . 3 . Diffusa est gracia as c o m m u n i o n ( M o n t p e l l i e r , Faculte de M e d e c i n e H . 159, p . 68) and responsory (AS, 663)
communion - ci - a
^

m
P

D i - f u - sa

est

gra

in

la

bi-is

tu-

-is

responsory

D i f - f u - s a est g r a - c i - a

inla-bi-is

tu-

-is

pro-pte-re-

-a

b e - n e - d i - x i t te

De-

-us

in

e-

-ter

num.

^
-a

v
De-us in

e-

-ter -

0 0

pro-pte-re-

b e - n e - d i - x i t te

num.

11.13. (i) Introduction

O F F E R T O R I E S

(ii) T e x t s (iii) T h e M e l o d i e s of the O f f e r t o r y R e s p o n d (iv) Verse M e l o d i e s O t t 1935; S i d l e r 1939; Baroffio 1964; Steiner 1966; H u c k e 1970; D y e r 1971; K a h m e r 1971; P i t m a n 1973; Baroffio and Steiner, ' O f f e r t o r y ' , A G ; D y e r 1982; L e v y Offertoriale (i) triplex. 1984;

Introduction

T h e splendid offertories of the medieval G r e g o r i a n repertory are still a m o n g the least k n o w n of chants. T h e long verses which were sung in the early M i d d l e A g e s , but w h i c h fell out of use i n the twelfth to thirteenth centuries, do not f o r m part of the m o d e r n R o m a n liturgy and were consequently not i n c l u d e d in such books as the Graduale Romanum and the Liber usualis. triplex, A l t h o u g h edited by O t t (1935his edition with the addition of neumes f r o m early the verses are unfamiliar. B u t the first was recently reissued i n Offertoriale

sources), and despite Sidler's study of 1939,

part of the chant (which I shall henceforth call the 'respond') is also relatively poorly understood, for, like the introit and c o m m u n i o n , it does not rely on easily identified formulas. D i s c u s s i o n of the melodies has therefore mainly concerned their possible responsorial nature, and the repeat structures in the lengthy melismas w h i c h occur in both respond and verses. F o r two reasons it has often been supposed that the offertory originally consisted of a psalm with antiphon, as many verses as were required to cover the liturgical action. T h e first part of the offertory, the respond, is sometimes labelled ' A ( n t i p h o n a ) ' in medieval sources. (introit), the F u r t h e r m o r e , the function of the offertory somewhat gifts to the altar (offertory), the clearing resembles up after other the that of the introit and c o m m u n i o n : a chant b r i n g i n g of accompanying the solemn entrance

consumption of the sacred elements ( c o m m u n i o n ) . T h e melodies that are transmitted by the earliest sources are, antiphons, but long, however, nothing like office antiphons, or any as impressive as melismatic outpourings anything i n

Gregorian repertory. Some have no verse, but most have f r o m one to three verses; four are occasionally f o u n d . After each verse all or part of the respond was repeated, as in the gradual or office responsory. Because of their generally wide range and frequent change of register or even of tonality, not least between respond and verse, it is not always possible to distinguish between authentic and plagal modes. T h e D i j o n tonary ( M o n t p e l l i e r , Faculte de Medecine H . 196, ( E ; 29), Tritus (F; P a l M u s 8, ed. H a n s e n 1974), for example, makes a ( O n e or two of these are multiple simple fourfold division between chants in Protus mode ( D ; 28 melodies), D e u t e r u s 16) and T e t r a r d u s ( G ; 31). textings of the same melody, but the number is about the average for early medieval

s o u r c e s . ) T h e m o d e r n b o o k s d o m a k e the d i s t i n c t i o n , h o w e v e r , s i n c e t h e y t h e m s e l v e s to t h e r e s p o n d . A l l examples i n the present chapter are t r a n s c r i b e d

restrict 196.

from Montpellier H .

B e c a u s e of its n o t a t i o n of b o t h b a n d bb it is a p a r t i c u l a r l y v a l u a b l e e a r l y w i t n e s s , a n d it o f t e n a p p e a r s to i n d i c a t e c h r o m a t i c i s m s a n d a p p a r e n t m o d u l a t i o n s n o t f o u n d i n o t h e r s o u r c e s . H a n s e n ' s e d i t i o n of the m a n u s c r i p t is t h e b e s t w a y i n t o t h e r e p e r t o r y . O t t ' s e d i t i o n is b a s e d p a r t l y o n M o n t p e l l i e r H . 159 a n d T r i e r , S t a d t b i b l i o t h e k 2 2 5 4 , t h e s o - c a l l e d B o h n C o d e x (see S t e i n e r 1966 o n t h e d a n g e r s of u s i n g O t t as a b a s i s f o r m e l o d i c a n a l y s i s ) . F a c s i m i l e s of s o u r c e s w i t h p i t c h n o t a t i o n are P a l M u s 13 B i b l i o t h e q u e N a t i o n a l e , lat. 903), (Graz, U n i v e r s i t a t s b i b l i o t h e k 807), S h c h e d r i n P u b l i c L i b r a r y O . v . I. 15 ( B e n e v e n t o , and T h i b a u t , 6). A r c h i v i o Capitolare 34), 1912 (St Petersburg, (Paris, and 19

Saltykov-

(ii)

Texts

M o s t o f f e r t o r i e s h a v e t e x t s t a k e n f r o m t h e p s a l m s ( a l l b u t f o u r t e e n of t h e 107 i n A M S , a c c o r d i n g to H u c k e 1 9 7 0 ) . H u c k e ' s s t u d y s h o w s t h a t m o r e t h a n a d o z e n offertories from h a v e f o r t h e i r v e r s e s t h e first verses of t h e p s a l m , t h e r e s p o n d b e i n g t a k e n p s a l m is s u n g , b e g i n n i n g of c o u r s e w i t h t h e first verse, whereas

e l s e w h e r e i n t h e p s a l m : t h i s is a p r i n c i p l e o f a n t i p h o n a l p s a l m o d y , w h e r e t h e w h o l e t h e a n t i p h o n is i n d e p e n d e n t . I n fifteen cases it is the r e s p o n d w h i c h u s e s t h e first v e r s e o f t h e p s a l m , w h e r e a s i n o v e r t w e n t y cases b o t h r e s p o n d a n d v e r s e ( s ) s e l e c t f r o m l a t e r v e r s e s of the p s a l m : t h i s m e t h o d of s e l e c t i o n r e s e m b l e s r e s p o n s o r i a l p s a l m o d y , w h e r e the cantor w h o s a n g t h e v e r s e s c o u l d select h i s t e x t s as h e p l e a s e d . T w o d o z e n o f f e r t o r i e s h a v e as first verse the first v e r s e of the p s a l m , b u t f o r o t h e r v e r s e s s e l e c t f r e e l y . S i n c e t h e s a m e t y p e s of t e x t c a n b e f o u n d a m o n g g r a d u a l s a n d o f f i c e r e s p o n s o r i e s , t h i s i n i t s e l f d o e s n o t t e l l us a n y t h i n g d e f i n i t e a b o u t the e a r l y h i s t o r y a n t i p h o n a l o r the offertory. T h e n o n - p s a l m o d i c texts have received special a t t e n t i o n f r o m L e v y (1984), w h o argued for a musical connection between some m e m b e r s S p a n i s h o f f e r t o r y , t h e sacrificium. of t h e g r o u p a n d t h e o l d descendents L e v y ' s h y p o t h e s i s is t h a t t h e s e are t h e offertories. responsorialof

o f t h e G a l l i c a n c h a n t r e p e r t o r y (see f u r t h e r V I 1 1 . 6 ) . It is n e v e r t h e l e s s d i f f i c u l t t o see m u c h musical difference between them and other

( i i i ) The Melodies

of the Offertory

Respond

T h e r e s p o n d s of the o f f e r t o r i e s v a r y c o n s i d e r a b l y i n l e n g t h , b u t g e n e r a l l y c o n s i s t of at least f o u r c l a u s e s , often eight or m o r e . The m e l o d i c s t y l e is h i g h l y o r n a t e , a p p e a r (as t h e y d o i n t h e introit, gradual, present. and and m e l i s m a s of c o n s i d e r a b l e p r o p o r t i o n s s o m e t i m e s melismas reiterations of ten or more notes. As or c, in the verses).

E v e n i n t h e s h o r t e s t o f f e r t o r y t h e r e w i l l u s u a l l y b e at least a c o u p l e of s y l l a b l e s w i t h communion, standard of a s i n g l e p i t c h , F are f r e q u e n t l y Although

p h r a s e s are a b s e n t f r o m t h e o f f e r t o r y , s o m e c h a n t s a c t u a l l y c o n t a i n p h r a s e s b o r r o w e d

f r o m graduals: Baroffio and Steiner ('Offertory', NG) Superflurnina, extended, and c l ) . A s far as openings, cadences,

cite examples in the offertory 351, D I , somewhat and u n d e r l y i n g structures are

which uses mode 1 gradual phrases (Apel 1958,

c o n c e r n e d , however, the offertory is most easily compared with the introit, often seeming rather like a more ecstatic and wide-ranging expansion of the introit style. A s in introits and c o m m u n i o n s , many phrases are highly ornate recitations. Several m o d e 2 pieces are formed of little else but a constant oscillation between D and F , some mode 6 ones hardly make a single significant departure f r o m F . Nearly a third of all the notes (over 190) in Reges Ex. Tharsis (mode 5) are c. levari ( M o n t p e l l i e r , F a c u l t e de M e d e c i n e

I I . 13.1. O f f e r t o r y r e s p o n d Ad te Domine

H . 159, p . 205)

P P

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Ad te domine requires both bb

(Ex. II. 13.1)

is an offertory respond of this type. Since the melody M o s t of the melodic

and /?t], and since the second verse will explore the lower region

between C and G , the melody is notated with final on a.

movement is therefore between a and c. A l t h o u g h several syllables are centred on c, only one phrase actually cadences on c, 'non erubescam', transposing literally the acadence on 'animam meam' for the purpose. T h e r e are two cadences on G , and one on the next lowest note E (there is no F ) , the other four all being <2-cadences. T h e chromatic inflexion w h i c h appears briefly here is but a hint of the m u c h bolder chromaticisms to be found elsewhere, a feature of offertories w h i c h evidently caused considerable problems for notators using pitch notation (see Sidler 1939 and Steiner 1966). M o n t p e l l i e r H . 159, the earliest source to distinguish between fet) and feb, sollempnitatis, preserves especially colourful versions of some melodies. In In die section of the piece is notated with bb. character as E x . II. 13.1,

E x . II.13.2, ' I n die' at the start and 'alleluia' at the end have 6t), but the whole central T h e opening and ending have the same that is, D - m o d e transposed up a fifth, but elsewhere the

music is that of the E - m o d e transposed up a fourth. T h e dominating pitches are

E x . I I . 13.2. O f f e r t o r y respond /;/ die H . 159, p . 215)

sollempnitatis

( M o n t p e l l i e r , Faculte de

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a n d d, a s t e p h i g h e r t h a n n o r m a l f o r t r a n s p o s e d D - m o d e . ( S o m e s o u r c e s fifth: see B o m m 1929, 166 ff. modest than

d o n o t a t e t h e m e l o d y i n D - m o d e , b u t w i t h o u t t h e Z?bs w h i c h w o u l d r e s u l t if the M o n t p e l l i e r version were transposed literally d o w n a and Jacobsthal 1897, 222ff.)

A s f a r as s u r f a c e o r n a m e n t a t i o n g o e s , t h e s e o f f e r t o r i e s r e p r e s e n t t h e m o r e i n t r o i t s . M a n y offertories, h o w e v e r , go w e l l b e y o n d t h i s . O n e finds

e n d of t h e r e p o r t o r y , w i t h o n l y a s l i g h t l y h i g h e r o v e r a l l d e g r e e o f d e c o r a t i o n

p h r a s e s of text

b e i n g repeated, u s u a l l y w i t h m o r e elaborate m u s i c , a p h e n o m e n o n practically u n i q u e i n t h e c h a n t r e p e r t o r y . T h e r e p e a t e d n o t e s c a n be s p u n o u t i n t o p a s s a g e s as l o n g as are to be found in graduals (compare Ex. II.5.3), and lengthy melismas Deo may be i n t r o d u c e d . A l l t h e s e m a y b e i l l u s t r a t e d b y t h e r e s p o n d o f lubilate terra, b u t w h i c h never fails to i m p r e s s ( E x . I I . 13.3). T o n a l l y t h i s c o m p o s i t i o n is q u i t e u n p r o b l e m a t i c . T h e r e is n o m o d u l a t i o n , a n d the verses (discussed below) do not m o v e into a different range. E a n d b are mostly a v o i d e d o r u s e d w i t h c i r c u m s p e c t i o n , so t h a t t h e b a s i c s c a l e w i t h i n w h i c h t h e m u s i c m o v e s is p e n t a t o n i c , CDFGacd; t h e p e a k of a m o t i f s u c h as bb a p p e a r s o n l y b e t w e e n t w o a s ( o r , i n t h e v e r s e s , at abbGF). i n c l u d i n g the notes w h i c h lead i n t o a f r o m b e l o w , o r , j u s t as o f t e n , aGc, w h i c h g i v e s e x t r a e l a n to t h e extended The D universa before,

a c e l e b r a t e d e x a m p l e w h i c h has b e e n c i t e d , at least i n p a r t , m a n y t i m e s

A f t e r t h e s t a n d a r d o p e n i n g , f o u n d i n a l l s o r t s of D - m o d e c h a n t s , t h e first p h r a s e is m o s t l y c o n c e r n e d w i t h a a n d c, FGa, a n d t h o s e t h a t l e a d t o c> Gac, achievement first

o f t h e t o p n o t e . T h e t e x t is t h e n r e p e a t e d w i t h m u c h m o r e

m u s i c : ' D e o u n i v e r s a ' is t h e s a m e as t h e first t i m e , b u t ' t e r r a ' is m o r e e l a b o r a t e . d e s c e n t to F ( n o t e t h a t t h e o r n a m e n t a l GEE is p r e f e r r e d t o , s a y , aGF)

w o r d is set t o a s u p e r b d e s c e n d i n g t h e n a s c e n d i n g m e l i s m a ; t h e r e is a r a p i d t h e n to f o l l o w e d b y a g r a d u a l rise m a d e u p o f l i t t l e s t a r t s a n d pauses, D-F-a-c-d (For a

( o r n a m e n t e d DCD),

r a t h e r l i k e t h e a s c e n d i n g f l i g h t of a b i r d , h o v e r i n g t h e n c l i m b i n g h i g h e r , a n d j u s t t o u c h i n g o n e a n d / b e f o r e t u m b l i n g b a c k to ' D e o ' as it w a s b e f o r e .

E x . I I . 13.3. O f f e r t o r y respond Iubilate M e d e c i n e H . 159, p . 199)

Deo

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( M o n t p e l l i e r , F a c u l t e de

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-ia. cited by Baroffio a n d Gac groups.

s i m i l a r case o f e l a b o r a t e d r e p e t i t i o n see Iubilate and Steiner, 'Offertory', The first NG.)

T h e n e x t p h r a s e , ' p s a l m u m d i c i t e ' , is o n c e a g a i n m a d e u p o f FGa e x c e p t f o r t h e e x t r a o r n a m e n t bdc the second t i m e .

rise t o c, ' p s a l m u m d i - ' , a n d t h e s e c o n d , ' n o m i - ' , a r e a c t u a l l y t h e s a m e ,

T h e s e c t i o n t o b e r e p e a t e d after t h e v e r s e n o w b e g i n s . T h e first p h r a s e , ' v e n i t e . . . v o b i s ' , is n o t at a l l s t a t i c i n t h e w a y m o s t o f t h e m u s i c h a s b e e n u p u n t i l n o w . A l l syllables have m o r e t h a n one note, a n d the m e l o d i c l i n e traces t w o b r o a d c u r v e s . It is n o t r e a l l y p o s s i b l e t o s p e a k of m a i n a n d a u x i l i a r y n o t e s h e r e . T h e m o b i l i t y p e r s i s t s t o s o m e e x t e n t u n t i l t h e e n d , f o r t h e r e p e a t e d cs f o r ' o m n e s ' ( t h e m u s i c i s t h e s a m e as f o r ' n o f m i n i ] ' ) are t h e last of t h e i r k i n d , a n d F t a k e s o v e r as t h e m a i n c e n t r e o f a t t r a c t i o n .

( i v ) Verse

Melodies o b s e r v e d i n o f f e r t o r y r e s p o n d s are p r e s e n t i n v e r s e s , There are repetitions of words and musical often

M o s t of t h e f e a t u r e s somewhat responds.

exaggerated.

phrases,

c h r o m a t i c i s m s , a n d l e n g t h y m e l i s m a s , the latter b e i n g m o r e f r e q u e n t i n verses t h a n i n A n u m b e r o f v e r s e s c o n c l u d e w i t h t h e s a m e m u s i c as o c c u r s i n t h e r e s p o n d j u s t p r e c e d i n g the repeat section. T h e simplest f o r m w o u l d thus b e : a b c b R e s p o n d , first p a r t : soloist(s) Respond, second part: choir V e r s e : soloist(s), using cadence from a Respond, second part: choir Deo universa terra ( E x x . I I . 13.3 a n d 6) b o t h v e r s e s u s e t h e

W h e r e t h e r e is m o r e t h a n o n e v e r s e , p e r h a p s o n l y o n e o f t h e m w i l l d i s p l a y t h i s f e a t u r e . I n Iubilate cadence f r o m the r e s p o n d . T h e r e is f r e q u e n t l y a h i a t u s b e t w e e n t h e r a n g e s of v e r s e a n d r e s p o n d , p e r h a p s e v e n a c h a n g e i n t o n a l i t y . T h u s t h e D - m o d e Deus f i r s t v e r s e Sitivit m o v e s l a r g e l y b e t w e e n G a n d c. Benedicam fecisti, b e g i n s o n bb, Deus meus ( H a n s e n , n o . 857) a n d its matutinis, Notas as if is m o r e c l e a r l y i n m o d e 1 in te r i s e n o h i g h e r t h a n a, w h e r e a s t h e s e c o n d v e r s e , In dominum

( a u t h e n t i c D - m o d e ) t h r o u g h o u t , as f a r as r a n g e g o e s ; b u t t h e s e c o n d v e r s e , f o u r t h ; a n d t h e w h o l e o f t h e s e c o n d h a l f of t h e v e r s e m o v e s i n t h e r a n g e a-e, o n D.

w i t h a p h r a s e w h i c h s o u n d s as i f it h a d b e e n t r a n s p o s e d u p a

t r a n s p o s e d u p a fifth, b e f o r e f a l l i n g s o m e w h a t p r e c i p i t a t e l y b a c k t o t h e final c a d e n c e S o m e t i m e s d i f f e r e n t s c r i b e s i n M o n t p e l l i e r H . 159 s u p p l i e d d i f f e r e n t p i t c h Deus in iubilatione ( H a n s e n , n o . 866), the Omnes The n o t a t i o n , a clear sign of the difficulties caused b y notating a n d s i n g i n g m e l o d i e s w i t h u n u s u a l r a n g e . F o r e x a m p l e , i n Ascendit gentes, r e s p o n d is u n e q u i v o c a l l y a m o d e 1 m e l o d y . B u t at t h e e n d o f t h e first v e r s e , t h e m u s i c s t a r t s t o h a n g a r o u n d bb, a n d e n d s w i t h a c a d e n c e o n F.

o r i g i n a l letter n o t a t i o n h a d the s u b s e q u e n t t w o verses b e g i n n i n g o n a a n d c a d e n c i n g i n i d e n t i c a l f a s h i o n t o t h e first v e r s e o n F. B u t a s e c o n d set o f p i t c h - l e t t e r s w a s t h e n a d d e d f o r m o s t o f t h e t h i r d v e r s e a n d a l l of t h e f o u r t h . T h e t h i r d v e r s e s t a r t s o f f a l o w e r ( o n D), fifth t h e n a b o u t h a l f - w a y t h r o u g h c o m e s i n t o u n i s o n w i t h t h e first v e r s i o n ,

w h i l e at t h e e n d o f t h e v e r s e it r i s e s a b o v e t h e first v e r s i o n , b e f o r e c a d e n c i n g l i k e it o n G . T h e t h i r d v e r s e i n i t s first v e r s i o n rose s p l e n d i d l y to h i g h # . I n i t s s e c o n d v e r s i o n it is a g a i n n o t a t e d a fifth l o w e r at first, b u t t h e last p h r a s e ( ' s u b p e d i b u s n o s t r i s ' ) is a t o n e h i g h e r u n t i l t h e final c a d e n c e o n F. Tollite portas in many sources looks like a fairly typical mode 2 offertory, m o d e r a t e l y e l a b o r a t e , w i t h o n l y o n e large m e l i s m a at t h e e n d o f t h e s e c o n d v e r s e . I t is f o u n d i n t h i s f o r m i n , f o r e x a m p l e , G r a z 8 0 7 ( P a l M u s 19) a n d B e n e v e n t o 34 ( P a l M u s 1 5 ) . A l t h o u g h v e r s e 1 s e e m s t o e n d o d d l y F G Gb aG GFthis is s i m p l y t h e l e a d i n t o the r e p e a t e d p a r t of t h e r e s p o n d , a n d reflects the c o r r e s p o n d i n g passage i n t h e r e s p o n d itself. V e r s e 2, b y contrast, occupies a h i g h e r register a n d w o u l d b y itself be c l a s s i f i e d as m o d e 1 ; i t e n d s o n D.

M o n t p e l l i e r H . 159 c l a s s i f i e s t h i s o f f e r t o r y i n m o d e 8. B u t at first t h e m e l o d y is n o t a t e d w i t h t h e s a m e i n t e r v a l s as i n t h e o t h e r s o u r c e s , o n l y a fifth h i g h e r . I t t h e r e f o r e l o o k s rather like E x . I I . 1 3 . 1 , a n d w e s h o u l d expect later 6bs to be the reason for the c h o i c e of p i t c h a fifth h i g h e r . B u t t h e bbs appear i n a q u i t e u n e x p e c t e d m a n n e r . A t the r e p l a c i n g c as the e n d of t h e r e s p o n d , t h e m e l o d y s u d d e n l y d i p s d o w n a t o n e , w i t h bb

t h e u s u a l ' r e c i t i n g ' p i t c h , a n d c a d e n c e s o n G , i n s t e a d of t h e e x p e c t e d a ( E x . I I . 1 3 . 4 ) . A s B o m m ( 1 9 2 9 , 174 f f . ) r e c o g n i z e d , t h i s is not l i k e l y t o b e a m i s t a k e , b e c a u s e (a) s a m e e n d i n g c a n b e s e e n i n S t P e t e r s b u r g O . v . I . 6, a n d (b) F r u t o l f of M i c h e l s b e r g

c i t e s t h e D - m o d e e n d i n g i n a w a y w h i c h suggests h e is r e p r o d u c i n g a c o r r e c t i o n f o r a w e l l - k n o w n t r o u b l e - s p o t . (See also t h e d i s c u s s i o n i n S i d l e r 1939 43 f f . ) E x . I I . 1 3 . 4 . F r o m offertory respond Tollite portas (Benevento, A r c h i v i o C a p . 34, fo. 1 3 ; M o n t p e l l i e r , Faculte de M e d e c i n e H . 159, p . 275)
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glo - ri - e.

V e r s e 1 i n M o n t p e l l i e r H . 159 is n o t a t e d a fifth h i g h e r t h a n i n t h e o t h e r s o u r c e s . B u t v e r s e 2 b r i n g s f u r t h e r c o m p l i c a t i o n s . H e r e M o n t p e l l i e r is o n l y a f o u r t h h i g h e r t h a n t h e o t h e r s o u r c e s , u n t i l t h e c l o s i n g c o m m e n t s of t h e final m e l i s m a , w h e n it m o v e s u p a s t e p a n d c a d e n c e s o n a. T h i s s e e m s i l l o g i c a l , f o r if it h a d c o n t i n u e d o n l y a f o u r t h h i g h e r t h a n t h e rest, a n o t h e r G - c l o s e w o u l d h a v e o c c u r r e d , as i n t h e r e s p o n d . T h i s c a d e n c e i s , h o w e v e r , n o t t h e last of t h e p i e c e , f o r t h e last p a r t o f t h e r e s p o n d w i l l n o w be r e p e a t e d as u s u a l . E x . I I . 13.5 g i v e s t h e w h o l e of v e r s e 2 at the t w o c o n t r a s t i n g p i t c h e s . S u c h e x a m p l e s m a k e it a b u n d a n t l y c l e a r that the a d o p t i o n of p i t c h n o t a t i o n i n t h e e l e v e n t h a n d t w e l f t h c e n t u r i e s m a y o f t e n h a v e r e s u l t e d i n the s m o o t h i n g o u t of ' i r r e g u l a r i t i e s ' i n t h e t o n a l o r g a n i z a t i o n of m a n y m e l o d i e s . T h e m e l i s m a i n E x . I I . 13.5 has t h e f o r m A A B , e x t r e m e l y c o m m o n i n a l l e l u i a s , m o d e r a t e l y so i n o f f e r t o r i e s . I n the Montpellier source, w h i c h i n this respect is r e p r e s e n t a t i v e , t h e r e are 103 o f f e r t o r i e s , w i t h 2 1 6 v e r s e s i n a l l . A l l b u t a h a n d f u l of r e s p o n d s , a n d o v e r n i n e t y of t h e v e r s e s , h a v e n o l e n g t h y m e l i s m a s at a l l . S o m e v e r s e s h a v e m o r e t h a n o n e . T h e r e is a r o u g h b a l a n c e ( s o m e w h a t o v e r e i g h t y e x a m p l e s of e a c h ) b e t w e e n u n s t r u c t u r e d m e l i s m a s a n d those w h i c h h a v e a r e p e a t f o r m of s o m e s o r t . T h e r e are a b o u t fifty m e l i s m a s w i t h A A B f o r m , b u t f e w o t h e r f o r m s are to be f o u n d r e g u l a r l y ; t h e r e a r e , f o r e x a m p l e , o n l y five i n s t a n c e s of A A B B C f o r m . A m o n g the more extended schemes may be cited A A A B - C - A A A B (Domine Deus (Super meus). flumina), A A B B C C D (Benedicam (Benedictus dominum), A A B B C C C D (Deus enim firmavit), AABBCDDE

es . . . in labiis),

and A A B C C D C C

128

//. Chant

Genres

E x . I I . 13.5. S e c o n d verse of offertory Tollite portas (sources as E x . I I . 13.4)

Benevento

-flr^
Montpellier

fl . . . . . .

*}.

.
-uit e-

-jg=
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Ok
flu - m i -na prepa-rauit

Ipse super

ma - ri - a funda3 times

super

s~

2 times

F o r e x a m p l e s of e x t e n d e d m e l i s m a s , a n d of the c a r r y i n g o v e r of m e l o d i c m a t e r i a l b e t w e e n r e s p o n d a n d v e r s e s , w e m a y r e t u r n to Iubilate Deo universa terra, whose r e s p o n d w a s g i v e n i n E x . I I . 1 3 . 3 . T h e t w o v e r s e s a p p e a r as E x . I I . 1 3 . 6 . A b l o w - b y b l o w a c c o u n t of t h e v e r s e s is b y n o w u n n e c e s s a r y . T h e r e a d e r w i l l b e able t o l o c a t e w i t h o u t d i f f i c u l t y s u c h f e a t u r e s as t h e free r e c i t a t i o n a r o u n d p a r t i c u l a r n o t e s (as at t h e start of v e r s e 1). S o m e t i m e s t h e m e l o d i e s b e c o m e l o c k e d i n t o r e p e a t e d r s , w i t h G a n d a i n s u p p o r t (cf. the s e c o n d ' t i b i v o t a ' i n verse 1 a n d ' [ h o l o c a u j s t a m e d u l l a t a ' i n verse 2). T h e s e ornate phrases lead into s i m i l a r cadences: those for the second ' m e a ' a n d ' d i s t i n x e r u n t ' i n v e r s e 1, a n d t h o s e f o r t h e s e c o n d ' m e a ' a n d ' m e d u l l a t a ' i n v e r s e 2 are all the s a m e . A t t h e start of b o t h v e r s e s t h e text is r e p e a t e d : w h i l e t h e m u s i c i n v e r s e 1 is d i f f e r e n t t h e s e c o n d t i m e , i n v e r s e 2 the m u s i c is t h e s a m e , except for the slightly more e x t e n d e d t r e a t m e n t of ' m e a ' . M o r e s u r p r i s i n g l y , t h i s m u s i c is t h e s a m e as the first l i n e of t h e r e s p o n d . B o t h v e r s e s h a v e a l e n g t h y m e l i s m a , a n d t h e t w o e n d i d e n t i c a l l y . T h e r e is also s o m e s i m i l a r i t y at t h e s t a r t , w h e r e b o t h m e l i s m a s h a v e b r i e f r e p e t i t i o n . T h e n v e r s e 1 r u n s r a t h e r o b v i o u s l y f r o m F to c a n d b a c k a g a i n . T h e c e n t r e p a r t of b o t h v e r s e s h o v e r s a r o u n d r e p e a t e d r s , m u c h m o r e e x t e n d e d i n v e r s e 2, w i t h b r i e f d e s c e n t s to F f o r r e l a x a t i o n of t e n s i o n . T h e s e are p u r e l y m u s i c a l o u t p o u r i n g s , w h e r e a t t e n t i o n to t h e t e x t is s u s p e n d e d a n d s h e e r j o y i n s i n g i n g s e e m s t o take o v e r , e c s t a t i c a n d i m p r o v i s a t o r y (at least c o m p a r e d to the r e p e t i t i o u s schemes found, when f o r e x a m p l e , i n m a n y a l l e l u i a s ) . It

r e m a i n s u n c l e a r , n e v e r t h e l e s s , w h a t o c c a s i o n e d t h e c o m p o s i t i o n of these g l o r i o u s m e l o d i e s . T h e y are n o t a s s i g n e d r e g u l a r l y to t h e h i g h feasts of t h e c h u r c h y e a r . T h e c o n t r a s t w i t h t h a t o t h e r g r e a t m u s i c a l h i g h p o i n t of m a s s , t h e s e q u e n c e , c o u l d n o t be more pointed. Whereas sequences were sung only on the greater feasts, the

13. E x . I I . 1 3 . 6 . Verses of offertory Iubilate

Offertories Deo universa

129 terra ( c o n t i n u a t i o n of E x . I I . 1 3 . 3 )

p m

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ta

me-

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red-

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P P

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que

dis-

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me-

L o - c u - t u m est os me-um

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a s s i g n m e n t s of t h e f i v e o f f e r t o r i e s w i t h e s p e c i a l l y e x t e n d e d m e l i s m a s m e n t i o n e d a b o v e are as f o l l o w s : Super Deus flumina: enim t w e n t i e t h S u n d a y after Pentecost* Benedicam dominum'. fiimavit: M o n d a y of s e c o n d w e e k i n L e n t s e c o n d M a s s of C h r i s t m a s D a y

Benedictus Domine Iubilate

es . . . in labiis: Deus meus

Quinquagesima sources) to t h e second Sunday after

(in very few sources): t w e n t y - f o u r t h S u n d a y after Pentecost* terra is u n i v e r s a l l y a s s i g n e d

(*the S u n d a y m a y vary between Deo universa Epiphany.

11.14.

A L L E L U I A S

(i) I n t r o d u c t i o n (ii) T h e E a r l i e r and L a t e r Styles (iii) R h y m e d A l l e l u i a s and L a t e M e d i e v a l M e l o d i e s S t a b l e i n , ' A l l e l u i a ' , MGG] ' A l l e l u i a . T, NG; (i) Introduction Schlager 1965; Treitler 1968; Jammers 1973; Schlager,

B a i l e y 1983, Alleluias;

M M M A 7, 8.

T h e a l l e l u i a is a r e s p o n s o r i a l c h a n t i n that t h e f i r s t p a r t of t h e c h a n t ( ' A l l e l u i a ' ) f o r m s a c h o r a l r e s p o n d to b e r e p e a t e d a f t e r t h e v e r s e , w h i l e s i n g i n g t h e verse is a s o l o i s t ' s task ( t h e r e m a y b e m o r e t h a n o n e v e r s e , a n d m o r e t h a n o n e s o l o i s t ) . It is c o n v e n t i o n a l t o d i v i d e t h e r e s p o n d i n t o t w o p a r t s , the s e t t i n g of t h e w o r d ' a l l e l u i a ' i t s e l f , a n d v o c a l i z a t i o n , m e l i s m a , o r jubilus modern books is: Cantor: Choir: Cantor: Choir: Cantor: Choir: 'Alleluia' ' A l l e l u i a ' 4- j u b i l u s Verse (main 'Alleluia' jubilus music This part) e n d of V e r s e ( w h i c h o f t e n i n c l u d e s a r e p e a t of t h e j u b i l u s ) o n -a. The m e t h o d of p e r f o r m a n c e the indicated in

T h e e a r l y n o t a t e d b o o k s k n o w n as c a n t a t o r i a ( b e c a u s e t h e y c o n t a i n o n l y the s u n g b y t h e c a n t o r , n o t t h a t of t h e c h o i r ) c o n t a i n c o m p l e t e a l l e l u i a m e l o d i e s . constitute an u n d i v i d e d r e s p o n d : Cantor: Choir: Cantor: Choir: ' A l l e l u i a ' 4- j u b i l u s ' A l l e l u i a ' 4- j u b i l u s Verse ' A l l e l u i a ' 4- j u b i l u s

s u g g e s t s t h e f o l l o w i n g m a n n e r of p e r f o r m a n c e , w h e r e t h e ' A l l e l u i a ' c a l l a n d t h e j u b i l u s

P o s s i b l y a f u r t h e r t w o s t a t e m e n t s of the r e s p o n d t h e n f o l l o w e d , b y t h e c a n t o r a n d t h e c h o i r r e s p e c t i v e l y , as w a s o r i g i n a l l y the case w i t h o t h e r r e s p o n s o r i a l c h a n t s (see 1 1 . 4 ) . T h e e v e n m o r e e l a b o r a t e p e r f o r m a n c e s c h e m e s of O l d R o m a n a n d M i l a n e s e u s a g e are a l s o s u g g e s t i v e (see VI11.3-4). T h e o u t s t a n d i n g w o r k of S c h l a g e r i n c a t a l o g u i n g a n d e d i t i n g the m e d i e v a l a l l e l u i a

repertory (Schlager 1965 and M M A 7-8) more

means that the bases for study have been Nevertheless, it a

firmly established than for almost any other chant genre.

consensus on many of its aspects can hardly be said to have been achieved. T h e alleluia has attracted considerable musicological attention, partly because has seemed a more purely musical genre than most others (with its wordless jubilus), partly because of its mysterious early history and the continuous expansion of the repertory through the Middle Ages, partly because of its connection with the sequence (an extended alleluia or not?). A l l these matters have been the subject of controversy. In the earliest books with chant texts, those edited by Hesbert (1935), there are just over 100 alleluia texts. N o t all have their own unique melody, however; Schlager NG). Dies Excita reckons that around sixty melodies were used (see the list in Schlager, ' A l l e l u i a ' , Prominent among the melodies used for more than one text are those for sanctificatus Dominus Domine about dixit ad me (first Mass on Christmas D a y , eleven other texts) and

(third Mass on Christmas D a y , nine other texts in the early repertory),

(third Sunday of A d v e n t , six other texts). ( F o r melodies with several texts, 1100 (the cut-off point for Schlager's catalogue) the repertory expanded The

see the synoptic presentation by M a d r i g n a c 1981-6.) O v e r the two centuries u p to dramatically. Schlager records 410 melodies, plus a considerable n u m b e r of others in adiastematic neumes which could not be catalogued: a sevenfold increase. 600. n u m b e r of texts had increased at the same time to over

Just as the same melody might be used for several different texts, so might the same text be sung to several different melodies, a phenomenon far more widespread among alleluias than any other chant genre, with the exception of h y m n s and late medieval r h y m e d sequences. So the total n u m b e r of different combinations of melody and text is far higher than that of the 600 texts alone. After the eleventh century composition continued. A Schlager of the points to the striking efflorescence compositional activity of creativity is the variety in South between G e r m a n y and Bohemia in the fifteenth century and the frequent use of r h y m e d texts. corollary continuous manuscripts in their selection of alleluias, both melodies and texts (which means that the alleluia repertory is a prime resource for identifying the liturgical use of a manuscript and its nearest relatives). T h i s instability extends right back to the earliest sources, so that one is tempted to hypothesize that the repertory i n the eighth century, that is the period immediately before the copying of the extant sources, was rather small. A p e l AMS: (1958, 379) listed the alleluias of the temporale whose assignment remained constant across the eighth- to ninth-century sources edited by Hesbert in only twenty-two in all (eighteen, discounting repeats). T h e n u m b e r of melodies for these is only eleven. T h e agreement in the sanctorale is m i n i m a l . T h e supposition that not many alleluias were needed is strengthened by the state of the O l d R o m a n and Milanese chant repertories, which used very few melodies right into the twelfth and thirteenth centuries.

(ii)

The Earlier

and

Later

Styles

M a n y of t h e m e l o d i e s w h i c h h a v e a c o n s t a n t a s s i g n m e n t i n the e a r l i e s t s o u r c e s s h a r e f e a t u r e s of m u s i c a l s t y l e , w h i c h s u g g e s t s t h e y b e l o n g t o an e a r l y l a y e r . T h e most i m p o r t a n t of t h e s e ( A p e l 1958, 391 d i s c u s s e s o t h e r s ) is a n e g a t i v e c h a r a c t e r i s t i c w h i c h b e c o m e s o b v i o u s w h e n c o m p a r i s o n s are m a d e w i t h t h e m a j o r i t y of l a t e r a l l e l u i a s : t h e a b s e n c e of r e p e t i t i o n w i t h i n the j u b i l u s o n E x . I I . 14.1. Alleluia Dominus -ia. 12 )
r

dixit ad me (Paris, B i b l . N a t . lat. 776, fo.

Do -

minus

di-xit

ad

me

f i - l i - us

meus

es

tu

go

ho-

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Ex.

11.14.1 g i v e s All.

Dominus

dixit

ad

me

w i t h its p r e s u m e d o r i g i n a l m e l o d y

( m e l o d y 281 i n S c h l a g e r ' s c a t a l o g u e ) f r o m a n A q u i t a n i a n m a n u s c r i p t . S o w e l l k n o w n is t h e m e l o d y t h a t t h e s c r i b e d o e s n o t c o p y it i n f u l l , a n d o n e has to r e f e r b a c k to t h e first a p p e a r a n c e of t h e m e l o d y , o n the f i r s t S u n d a y of A d v e n t f o r All. Ostende nobis, f o r t h e e n d i n g . T h e r e are i n a l l t h r e e m e l i s m a s of s o m e l e n g t h : t h e j u b i l u s , o n ' h o [ d i e ] ' , a n d o n 'te' at the e n d of the v e r s e . T h e o n l y o n e w i t h a h i n t of r e p e t i t i o n is t h e last, w h i c h m i g h t be c o n s t r u e d as h a v i n g p a i r e d p h r a s e s ' i m p e r f e c t l y ' o n F\ the other m a k i n g the 'perfect' at t h e e n d , o n e G ending in cadence on (bracketed

E x . I I . 1 4 . 1 ) . I n t h e r e s p o n d , c is an o b v i o u s m e l o d i c g o a l . T h e m e l o d y k e e p s p u s h i n g u p to i t , t h e n f a l l i n g a w a y , to G , to F, b, a n d f i n a l l y G a g a i n . T h i s is also w h a t h a p p e n s i n t h e v e r s e , w i t h c a d e n c e s o n b ( ' m e ' ) , G ( ' t u ' ) , F ( ' h o d i e ' ) , a n d G a g a i n ('te'). I n t h e f i n a l m e l i s m a F e x e r t s a s t r o n g p u l l , so t h a t the G c a d e n c e s e e m s l i k e a p o i n t of b a l a n c e o r r e p o s e , r a t h e r t h a n a p o i n t of d e p a r t u r e t o w a r d s c. T h e r e are of c o u r s e o t h e r w a y s of h e a r i n g t h e p i e c e , b u t the s i m i l a r i t y w i t h o t h e r t y p e s of c h a n t d i s c u s s e d so f a r , p a r t i c u l a r l y the b to F. 1958, offertories, seems clear. The melisma on ' h o d i e ' is p a r t i c u l a r l y s u g g e s t i v e of t h e o f f e r t o r y , w i t h its g r a d e d d e s c e n t f r o m e to a, t h e n d to G , a n d f i n a l l y It is n o t s u r p r i s i n g , e i t h e r , to f i n d that t h e f i n a l g r o u p s of n o t e s at t h e e n d s of 356). the r e s p o n d a n d verse are also f o u n d i n G - m o d e g r a d u a l s (cf. G 1 0 a n d G l i n A p e l

E x . I I . 14.2. 12 )
r

A n o t h e r melody for Alleluia

Dominus

dixit ad me (Paris, B i b l . N a t . lat. 776, fo.

3 T

A l - l e - lu - ia.

Do - m i >jm *m
9

-nus
^

di - xit ad me
^0^ 0H
m

fi - li - us
9

me - us es

tu

e^ J ^ J .

-go
-

m9m

mmM

MM

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te.

P e r h a p s b e c a u s e t h i s m e l o d y s e e m e d o l d - f a s h i o n e d , a n o t h e r s e t t i n g of t h e s a m e t e x t was copied immediately afterwards Nationale, lat. 776. The i n the source used here, Paris, Bibliotheque 1965, m e l o d y is u n i q u e to t h i s m a n u s c r i p t (Schlager

N o . 190), a n d it t u r n s o u t to b e a r a l l t h e h a l l m a r k s of later c o m p o s i t i o n ( E x . I I . 1 4 . 2 ) . T h e m u s i c m a k e s use of r e p e t i t i o n t o a h i g h d e g r e e . F i r s t l y , t h e j u b i l u s has a n o b v i o u s r e p e a t ( w h i c h s h o u l d p e r h a p s b e m a d e at t h e e n d of t h e v e r s e as w e l l ) . T h i s m u s i c a p p e a r s a g a i n f o r ' h o d i e ' , also r e p e a t e d , a n d a g o o d d e a l of t h e s a m e p h r a s e is u s e d f o r ' D o m i n u s ' at t h e start of t h e v e r s e . T h e m u s i c f o r ' A l l e l u i a ' is also u s e d i n the v e r s e , f r o m ' d i x i t ' to ' m e u s ' , a n d o n e is e v e n t e m p t e d to h e a r it b e h i n d t h e m u s i c f o r ' e g o ' . I n o t h e r w o r d s , t h e m u s i c of t h e v e r s e has b e e n d e r i v e d v e r y l a r g e l y f r o m t h e r e s p o n d . S i n c e e a c h p h r a s e f o r m s a m e l o d i c a r c h , n o n o t e e s t a b l i s h e s i t s e l f as a r e c i t i n g p i t c h . ( T h e m a n u s c r i p t has n o c l e f s o r c o l o u r e d l i n e s , a n d t h e c h o i c e of a - f i n a l , t a n t a m o u n t to D - m o d e w i t h bbs with E-final.) t h r o u g h o u t , is a m a t t e r of o p i n i o n . S c h l a g e r t r a n s c r i b e s t h e p i e c e

A m o n g t h e s i x t y o r so a l l e l u i a m e l o d i e s a s s i g n e d to t h e e a r l y ( n i n t h - c e n t u r y ) r e p e r t o r y b y S c h l a g e r t h e r e is a r o u g h b a l a n c e b e t w e e n t h o s e w i t h a n d t h o s e w i t h o u t m e l i s m a s h a v i n g a r e p e a t s t r u c t u r e . P r o b a b l y o t h e r a l l e l u i a s c o u l d t h e r e f o r e be a d d e d t o A p e l ' s e l e v e n ' e a r l i e s t of a l l ' ( e i g h t h c e n t u r y o r e a r l i e r ? ) m e l o d i e s , s u c h as t h o s e f o r common of s a i n t s or for Sundays, which by their nature would have no a s s i g n m e n t to o n e p a r t i c u l a r d a y . A m e l o d y j u s t e m e r g i n g i n t o t h e n e w e r a , so to s p e a k , is t h a t f o r All. Attendite, o n e of t h e s u m m e r S u n d a y s ( S c h l a g e r 1965, N o . 224), E x . I I . 14.3. ( T h e for semitone the firm

step is i n d i c a t e d o f t e n e n o u g h i n P a r i s 903 to e n a b l e o n e to use B b as a k e y s i g n a t u r e ; M o n t p e l l i e r H . 159 n o t a t e s the m e l o d y w i t h a flat t h r o u g h o u t . ) T h e r e is a h i n t of r e p e t i t i o n at t h e start of t h e j u b i l u s , b u t a m o r e o b v i o u s e x a m p l e is r e s e r v e d f o r t h e m i d d l e of t h e v e r s e , o n ' m e u s ' . E v e n w i t h o u t t h i s r e p e t i t i o n , o n e w o u l d b e i n c l i n e d to see a l a t e r c o m p o s e r at w o r k t h a n i n All. Dominus dixit ad me ( E x . II.14.1), because of the easy w a y t h e m e l o d y m o v e s i n scale passages t h r o u g h t h e r a n g e F t o c.

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O n e n e e d s o n l y t o g l a n c e at t h e c r i t i c a l c o m m e n t a r y to S c h l a g e r ' s e d i t i o n t o see h o w the shape of t h e l o n g e r melismas m a y vary from manuscript to manuscript. S i m u l t a n e o u s l y w i t h t h e c o m p o s i t i o n of n e w m e l o d i e s , a l r e a d y e x i s t i n g o n e s w e r e retouched, Attendite D Al-leN e w e r alleluias naturally e x p l o i t e d the f u l l possibilities of repeat s t r u c t u r e s , a n d p r a c t i c a l l y a l l of t h o s e w h i c h m a k e u p t h e rest of t h e r e p e r t o r y u p t o r . 1 1 0 0 i n c l u d e a repeated m e l i s m a , or reuse of r e s p o n d m a t e r i a l i n the verse, o r b o t h . T h e s c h e m e A A B is e x t r e m e l y p o p u l a r , a n d f o r m s l i k e m i n i a t u r e s e q u e n c e s a p p e a r , f o r e x a m p l e A A B B C C D , u s e d f o r t h e f o l l o w i n g m e l o d i e s ( i n s o m e s o u r c e s at l e a s t ) : All. All. All. Others Beatus Surrexit sanctus Martin us ( S c h l a g e r (Schlager 1965, N o . 396) 1 9 6 5 , N o . 10) sum pastor bonus (Schlager Cum esset Stephanus Dominus 1 9 6 5 , N o . 102) (Schlager extended b y repetition, made m o r e regular. T h i s affects not o n l y the t h e start of t h e A l l e l u i a f o r All. ( E x . I I . 1 4 . 3 ) i n P a r i s 7 7 6 is l i k e t h e s t a r t o f t h e v e r s e : FDDCF m e l i s m a s b u t o t h e r p h r a s e s as w e l l : f o r e x a m p l e ,

et occurrens

d i s p l a y r e p e t i t i o n w i t h v a r i a t i o n , as All. Ego facte

M e l o d y N o . 299, u n i q u e to P i s t o i a 120), w h i c h m i g h t be i n t e r p r e t e d : A B A ' B ' A " B A " ' B " . T h e j u b i l u s i n All. Nuptie sunt ( S c h l a g e r 1 9 6 5 , N o . I l l , f o u n d o n l y i n a alternation of l i k e a n d u n l i k e CDD, phrases few A q u i t a n i a n sources) displays a subtle jubilus. F o u r phrases i n all end with

( E x . I I . 14.4). T h e s m a l l figure labelled 'x', o r s i m i l a r ones, appears four times i n the an identical cadence, the so-called ' G a l l i c a n cadence' f o u n d i n n u m e r o u s s e q u e n c e s of t h i s p e r i o d . I n t h e v e r s e , t h e

r e c u r r e n t f i g u r e V t u r n s u p o n c e m o r e , at t h e e n d o f t h e ' C h a n a ' m e l i s m a . M u s i c f r o m the ' a l l e l u i a ' c a l l is t h e n r e u s e d at t h e e n d o f t h e v e r s e f o r ' m a t e r e i u s ' , p r o v i d i n g t h e l e a d i n t o a r e p e a t of t h e j u b i l u s ( i n d i c a t e d b y a c u e ) . Thus, w h i l e the repetition i n a short A A B scheme m a y be literal, the longer m e l i s m a s t e n d t o h a n d l e it i n a m o r e s o p h i s t i c a t e d w a y . I n E x . I I . 1 4 . 4 d i f f e r e n t

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s h o w s s i m i l a r b e g i n n i n g s l e a d i n g to d i f f e r e n t e n d i n g s , a n a l o g o u s to the first a n d s e c o n d e n d i n g s o f l a t e r m u s i c . T h e j u b i l u s c o n s i s t s of n i n e p h r a s e s , l a b e l l e d ' b ' to ' j ' . T h e b a s i c i d e a s e e m s to be t h e a l t e r n a t i o n of p h r a s e s c a d e n c i n g o n a w i t h t h o s e w h i c h m o v e d o w n to D. T h e a p h r a s e s are ' b ' a n d V , w h i c h c o m e s t w i c e , the first t i m e w i t h a short, supplementary a-phrase ('h') T. T h e D - p h r a s e s are 'c + d ' ( l a b e l l e d separately are scale because 'c' appears later alone) a n d ' g ' , w h i l e a longer e n d i n g i n c l u d e s a G - c a d e n c e b e f o r e t h e f i n a l p h r a s e e n d i n g o n D. W i t h i n this pattern, h o w e v e r , there Three-note o t h e r s . T h e first n o t e s of V a n d ' g ' are the s a m e , a n d t h i s causes V a n d ' g ' t o be h e a r d as a p a i r , w i t h a h a l f c l o s e ( o n a) a n d t h e n a f u l l close ( o n D). s e g m e n t s are c o m m o n t h r o u g h o u t t h e p i e c e (a s y m p t o m of r e l a t i v e l y late d a t e ) : s i n c e t h e r e are p a i r s of t h e m just b e f o r e t h e c a d e n c e i n b o t h ' b ' a n d ' d ' , o n e is i n c l i n e d to hear t h e s e p h r a s e s as a p a i r as w e l l , i n a n a n t e c e d e n t - c o n s e q u e n t relationship. T h e verse b e g i n s l i k e t h e ' a l l e l u i a ' c a l l , b u t t h e n e x t p h r a s e , ' s p o n s a C h r i s t i ' , s t a n d s b y i t s e l f . T h e f o u r p h r a s e s of ' a c c i p e c o r o n a m ' m a k e u p a n A - A - A ' - A " s c h e m e : T is a c t u a l l y a v e r s i o n of 'c + d ' , t r a n s p o s e d u p a f i f t h ; t h e n e x t p h r a s e uses ' c ' l i t e r a l l y , u p a f i f t h , w i t h a n e w e x t e n s i o n ' m ' ; t o g e t h e r t h e y m i g h t be r e g a r d e d as a n extended v e r s i o n of T ; t h e last p h r a s e is m a d e u p of ' c 4 - j ' , l i k e w i s e t r a n s p o s e d u p a f i f t h . Is it s t r e t c h i n g a p o i n t to c a l l ' q u a m t i b i ' a v a r i a n t of 'j'? a n d ' d o m i n u s ' a v a r i a n t o f ' m ' , e a c h w i t h a n e w start (the scale s e g m e n t abed)}', ' j ' t h e n r e c u r s at the e n d of ' p r e p a r a v i t ' .

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V e r y m a n y a l l e l u i a s c o m p o s e d a f t e r the n i n t h c e n t u r y r e m a i n e d l o c a l c o m p o s i t i o n s , s u c h as t h e A q u i t a n i a n o n e s j u s t g i v e n as E x . I I . 1 4 . 2 , 4, a n d 5 . T h e s a m e r e m a i n s t r u e of m o s t c o m p o s i t i o n s of t h e l a t e r M i d d l e A g e s , f r o m the t w e l f t h c e n t u r y onwards. of T h i s is m o s t l y b e c a u s e t h e b a s i c l i t u r g y t h r o u g h o u t the y e a r h a d its c o n s i g n m e n t

a l l e l u i a s f r o m a n e a r l y d a t e , a n d w h i l e n e w i n i t i a t i v e m i g h t w i n l o c a l a c c e p t a n c e , it w a s h a r d l y l i k e l y t o c a u s e w h o l e s a l e r e v i s i o n s of the r e p e r t o r y r i g h t a c r o s s E u r o p e . M a n y l a t e r a l l e l u i a s are c o m p o s i t i o n s f o r l o c a l s a i n t s , w h o s e c u l t w a s p e c u l i a r t o a r e s t r i c t e d a r e a , e v e n to a s i n g l e c h u r c h . O n e of t h e f e w classes of f e a s t - d a y w h i c h w a s c e l e b r a t e d w i t h i n c r e a s i n g a n d u n i v e r s a l e n t h u s i a s m w a s feasts of t h e B l e s s e d Virgin

M a r y , a n d it is a m o n g t h e vast c o r p u s of M a r i a n a l l e l u i a s t h a t a f e w w i d e l y k n o w n m o d e r n pieces m a y be i d e n t i f i e d . M a n y M a r i a n alleluias were retexted for other l i t u r g i c a l o c c a s i o n s ( p a r t i c u l a r l y f o r v i r g i n s a i n t s , of c o u r s e ) , s o m e m o r e t h a n t w e n t y t i m e s . A s w i t h t h e e a r l i e r r e p e r t o r y , s o m e t e x t s are f o u n d w i t h m o r e t h a n a d o z e n different melodies in different O n e of t h e s e is All. Virga sources. (for w h i c h S c h l a g e r lists n e a r l y 200 sources i n Iesse floruit

M M M A 8, 8 2 2 f f . ) . Its text is n o t a b l e f o r t h e i n c i p i e n t r h y m e , b e s t c a l l e d a s s o n a n c e , c o m m o n to m a n y n e w l i t u r g i c a l t e x t s of t h e t w e l f t h c e n t u r y . I n w h a t s e e m s t o b e the e a r l i e s t v e r s i o n , t h e last l i n e is n o t assonant:

V i r g a Iesse floruit virgo D e u m et h o m i n e m genuit pacem D e u s r e d d i d i t in se reconcilians y m a s u m m i s O t h e r v e r s i o n s ( M M M A 8, 564) r e p l a c e t h e last l i n e w i t h : q u i poli s u m m a c o n d i d i t orate (or ' D e i g e n i t r i x ora') pro nobis M u s i c a l l y , t h i s p a r t i c u l a r a l l e l u i a p r e s e n t s n o t h i n g r a d i c a l l y n e w . G i v e n t h e a m o u n t of r e p e t i t i o n a l r e a d y p r e s e n t i n e a r l i e r a l l e l u i a s , h o w e v e r , it is n o t s u r p r i s i n g t h a t m u s i c a l r h y m e s h o u l d o c c a s i o n a l l y be i n t r o d u c e d i n l a t e r p i e c e s , e i t h e r i n s u p p o r t of, o r i n c o u n t e r p o i n t w i t h , t h e text r h y m e . T h i s o c c u r s i n , f o r e x a m p l e , All. trinitatis, the Ante thronum a n o t h e r M a r y a l l e l u i a , p r o b a b l y d a t i n g f r o m t h e late t h i r t e e n t h c e n t u r y . A s adapted for St lat. Barbara 905 added in the in sixteenth Ex. century The to Paris, musical

a s u p p l e m e n t to t h e a l l e l u i a w i t h its u s u a l t e x t , t r a n s c r i b e d b y S c h l a g e r (35 f f . ) , I g i v e version Bibliotheque Nationale, (from Rouen) scheme: I I . 14.6.

r e p e t i t i o n s a f f e c t n o t j u s t the e n d s of e a c h e i g h t - s y l l a b l e l i n e , b u t a l s o s o m e of t h e h a l f v e r s e s . T h e t e x t has t h e f o l l o w i n g r h y m e -is -is -atis -atis -ata -ata -iice -iice

w h e r e a s the m u s i c p r o c e e d s as f o l l o w s ( t h e s c h e m e is m a r k e d o n t h e t r a n s c r i p t i o n ) : a b d e c a e e b c (melisma w i t h A A B structure, new ending) sources). flavour, not so much b e c a u s e of t h e three-note groups as c

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s t a g g e r i n g r a n g e of t w o a n d a h a l f o c t a v e s f r o m G to cl'. S o m e w h a t less s p e c t a c u l a r , t h o u g h s t i l l e x o t i c b y c o m p a r i s o n w i t h e a r l y m e d i e v a l m e l o d i e s , is/1//. O Maria rosa. The piece is of m a n i f o l d i n t e r e s t . . F i r s t l y , t h e M M M A numerous sources Schlager (over 4 0 :

8, 727 f f . ) s h o w t h a t it w a s o n e of t h e m o s t p o p u l a r E u r o p e ; s e c o n d l y , its E - m o d e m e l o d y is of a t y p e

r h y m e d alleluias i n south-east

c h a r a c t e r i s t i c f o r t h a t area ( S c h l a g e r t h i n k s it m i g h t e v e n h a v e b e e n t h e s t a r t i n g - p o i n t f o r t h e t y p e ) ; a n d t h i r d l y , i n a b o u t a q u a r t e r of t h e s o u r c e s t r o p e v e r s e s are i n s e r t e d i n the verse. T h e t u r n a r o u n d E w h i c h constitutes the m o s t p r o m i n e n t fingerprint of t h i s g r o u p of m e l o d i e s s t a n d s o u t c l e a r l y i n E x . I I . 1 4 . 7 . O t h e r f e a t u r e s of t h e m e l o d y are p e r h a p s best d e s c r i b e d as t y p i c a l l y l a t e - m e d i e v a l , o n l y a p p l i e d h e r e to a n E - m o d e m e l o d y , r a t h e r t h a n t h e m o r e c o m m o n F - o r G - m o d e s (or t r a n s p o s e d to c): o c t a v e l e a p e to E, t h e r e a d i n e s s to the The r u n t h r o u g h the w h o l e octave, or b e y o n d (here p r a c t i c a l l y always d e s c e n d i n g ) , o u t l i n i n g the m o d a l octave. There are a g a i n n u m e r o u s m e l o d i c r e p e t i t i o n s . 8, 351 f f . ) . 11.26). The

t h e s u c c e s s i o n of l e a p s of a f o u r t h a n d a fifth ( l i n e 8 ) , yet a g a i n

s o u r c e t r a n s c r i b e d h e r e has n o t r o p e v e r s e s . A s t e r i s k s s h o w w h e r e t h e y a p p e a r i n o t h e r m a n u s c r i p t s , a n d t h e y are g i v e n i n E x . I I . 1 4 . 8 . (cf. M M M A T h e r e p e r t o r y of r h y m e d a l l e l u i a s s h a r e s c o m p o s i t i o n a l f e a t u r e s w i t h o t h e r r h y m e d c h a n t s , s u c h as t h e r e s p o n s o r i e s f o r late m e d i e v a l r h y m e d o f f i c e s (see p a r a l l e l is n o t a n exact o n e , h o w e v e r , b e c a u s e it w a s n o t t h e c u s t o m t o c o m p o s e w h o l e

14. Alleluias

139

n e w m a s s e s w i t h r h y m e d t e x t s : t h e a l l e l u i a a n d s e q u e n c e ( n o t n e c e s s a r i l y as a p a i r ) a r e u s u a l l y t h e o n l y s u c h i t e m s at m a s s .

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11.15. (i) Introduction

H Y M N S

(ii) T e x t s (iii) M u s i c (iv) Processional H y m n s M o b e r g 1947; M M M A 1; Szoverffy 1 9 6 4 - 5 ; G n e u s s 1968; S t a b l e i n , T l y m n u s , B . D e r Steiner, ' H y m n , I I . M o n o p h o n i c L a t i n ' , A G .

lateinische H y m n u s ' , MGG;

(i)

Introduction 1

D e s p i t e t h e o u t s t a n d i n g w o r k of S t a b l e i n t h e e d i t i o n a n d c o m m e n t a r y i n M M M A a n d t h e a r t i c l e f o r MGGa Moberg's projected

r e p e r t o r i a l s u r v e y of a s u f f i c i e n t n u m b e r of s o u r c e s f r o m completed. one

o v e r a l l E u r o p e is s t i l l n o t a v a i l a b l e a n d m u c h m u s i c a l a n a l y s i s r e m a i n s to b e d o n e . O f e d i t i o n o n l y the v a l u a b l e c o m p a r a t i v e tables w e r e S t a b l e i n e d i t e d t h e c o n t e n t s of a M i l a n e s e h y m n c o l l e c t i o n a n d t h r e e F r e n c h ,

E n g l i s h , three G e r m a n , and t w o Italian h y m n a r i e s , s u p p l e m e n t i n g these melodies w i t h o t h e r s f r o m a d d i t i o n a l F r e n c h , E n g l i s h , G e r m a n , a n d I t a l i a n s o u r c e s . O v e r 550 m e l o d i e s are e d i t e d . L i s t s of c o n t e n t s f o r a l l the s o u r c e s S t a b l e i n c o n s u l t e d w e r e n o t published, however, a n d it is e v e n d i f f i c u l t to c o m p a r e the c o n t e n t s of his m a i n s o u r c e s . It c a n n e v e r t h e l e s s b e a s c e r t a i n e d that v e r y f e w h y m n s (less t h a n t h i r t y ) w e r e s u n g i n a l l areas of E u r o p e to t h e s a m e m e l o d y ; m a n y p o p u l a r t e x t s w e r e set t i m e a n d again to d i f f e r e n t m e l o d i e s , a n d m a n y p o p u l a r m e l o d i e s were used for a d o z e n or m o r e d i f f e r e n t texts. S o m e m e l o d i e s b e c a m e s t r o n g l y associated w i t h a p a r t i c u l a r season or liturgical p o s i t i o n . M o s t w i d e l y k n o w n , and p r o b a b l y a m o n g the oldest, are the h y m n s of t h e w e e k l y o f f i c e c y c l e . B u t as s o o n as o n e m o v e s b e y o n d t h e s e a n d t h e m a i n feasts of t h e y e a r , m e d i e v a l s o u r c e s d i s p l a y great v a r i e t y of c h o i c e . T h e m a j o r i t y of h y m n a r i e s c o n t a i n b e t w e e n 80 a n d 100 p i e c e s ; t h o s e w h i c h m a k e p r o v i s i o n f o r l o c a l and l e s s e r s a i n t s m a y h a v e u p to t w i c e t h i s n u m b e r . for s i n g i n g d u r i n g the l o n g n i g h t v i g i l s . A u g u s t i n e Deus creator omnium, Iam later, surgit surgit alas, hora hora tertia, do the tertia and O n l y centuries earliest H y m n s w e r e r e p o r t e d b y S t A u g u s t i n e to h a v e b e e n p r o m o t e d i n t h e c h u r c h of M i l a n b y S t A m b r o s e ( d . 397) a t t r i b u t e d Aeterne Veni redemptor rerum gentium conditor,

to A m b r o s e .

M i l a n e s e m u s i c a l s o u r c e s a p p e a r , a n d t h e r e is n o s u b s t a n t i a l a g r e e m e n t i n the rest of E u r o p e a b o u t m e l o d i e s f o r t h e s e h y m n s . I n d e e d , Iam s u n g at a l l . The d e v e l o p m e n t of t h e M i l a n e s e r e p e r t o r y has b e e n o u t l i n e d b y H u g l o et

r

w a s rarelyal.

( 1 9 5 6 , 8 5 - 1 0 3 ) , a n d a l s o its r e l a t i o n s h i p to the G a l l i c a n r e p e r t o r y ( H u g l o , ' G a l l i c a n R i t e , M u s i c of t h e ' , A G ) .

The

earliest

n o t a t e d h y m n a r y a p p e a r s t o be t h e K e m p t e n c o l l e c t i o n ( e d i t e d notation.

by

Stablein),

f r o m a r o u n d the t u r n of t h e m i l l e n i u m , w i t h a l p h a b e t i c

This

m e a n s t h a t f o r t h e c r u c i a l p e r i o d of t h e C a r o l i n g i a n r e n a i s s a n c e w e are r e l i a n t o n t e x t s a l o n e f o r o u r k n o w l e d g e of t h e h i s t o r y of the r e p e r t o r y . G n e u s s ( 1 9 6 8 ) has p r o v i d e d v a l u a b l e i n d i c a t i o n s as t o h o w it d e v e l o p e d . H e sees a n e a r l y r e p e r t o r y d a t i n g b a c k at l e a s t t o t h e s i x t h c e n t u r y ( ' O l d H y m n a l ' t y p e I) d r a w n u p o n i n M i l a n , b y t h e r u l e of S t B e n e d i c t a n d t h e r e s p e c t i v e r u l e s f o r n u n s a n d m o n k s of C a e s a r i u s a n d A u r e l i a n of A r i e s ; t h i s a l s o s u r v i v e s i n t w o e a r l y E n g l i s h s o u r c e s . A n e w r e c e n s i o n of t h e ' O l d H y m n a l ' ( t y p e I I ) s e e m s to b e l o n g to the C a r o l i n g i a n p e r i o d . P a r t of it is f o u n d , f o r example, century. Hymnal') subsequent i n t h e s a m e s o u r c e as t h e earliest t o n a r y , p r o b a b l y f r o m Saint-Riquier, (the 'New of all notated P a r i s , B i b l i o t h e q u e N a t i o n a l e , l a t . 1 3 1 5 9 , w r i t t e n i n t h e c l o s i n g y e a r s of t h e e i g h t h B u t i n t h e s e c o n d h a l f of t h e n i n t h c e n t u r y a n e w r e p e r t o r y gained rapid and widespread acceptance. in modern It forms the collections, i n c l u d i n g those service-books. basis All

hymnaries, therefore,

are b a s e d o n t h e ' N e w H y m n a l ' . W e d o n o t k n o w i f m u s i c a l

changes a c c o m p a n i e d the changes i n text selection. A n d , p a r t l y because h y m n s were u s u a l l y c o p i e d i n i n d e p e n d e n t c o l l e c t i o n s ( o f t e n w i t h t h e p s a l t e r ) , w e c a n n o t y e t relate t h e h i s t o r y of t h e h y m n to t h a t of o t h e r o f f i c e c h a n t s . D i s c u s s i o n o f t h e m u s i c is also m a d e d i f f i c u l t b y t h e w i d e v a r i a n c e b e t w e e n s o u r c e s i n t h e i r t r a n s m i s s i o n of m a n y m e l o d i e s . H y m n s are of c o u r s e n o t p e c u l i a r i n t h i s r e s p e c t , b u t t h e l a c k of a s t r o n g c e n t r a l t r a d i t i o n s e e m s to h a v e r e s u l t e d i n u n u s u a l l y w i d e d i f f e r e n c e s . of ornate ones, the r e g u l a r i z a t i o n of note groups to reflect text Stablein rhythm, has and n o t i c e d e x a m p l e s of the a p p a r e n t ' m o d e r n i z a t i o n ' of a r c h a i c m e l o d i e s , the s i m p l i f i c a t i o n d i f f e r e n c e s of m o d a l i n t e r p r e t a t i o n . I n w h a t f o l l o w s h y m n s are c i t e d w i t h t h e i r ' O l d H y m n a l ' o r ' N e w H y m n a l ' n u m b e r , f o l l o w i n g G n e u s s (24 f f . , 60 f f . ; if a d i s t i n c t i o n b e t w e e n t h e t w o t y p e s of O l d H y m n a l is p o s s i b l e , t h e a p p e l l a t i o n T o r ' I I ' is also g i v e n ) . E x a m p l e s are m o s t l y t a k e n f r o m a n English thirteenth-century m a n u s c r i p t of S a r u m use, Oxford, Bodleian Library, L a u d l a t . 9 5 , w h o s e r e p e r t o r y is n a t u r a l l y r e l a t e d to t h e F r e n c h a n d E n g l i s h s o u r c e s edited by Stablein.

(ii)

Texts

T h e m o s t o b v i o u s t e x t u a l a n d m u s i c a l c h a r a c t e r i s t i c of h y m n s is t h e i r s t r o p h i c f o r m a n d m e t r i c a l r e g u l a r i t y . I n v i e w of t h i s f o r m a l s i m p l i c i t y a n d t h e r e l a t i v e l y s m a l l n u m b e r of m e l o d i e s r e q u i r e d , it is h a r d l y s u r p r i s i n g t h a t m u s i c a l n o t a t i o n w a s n o t thought necessary i n early sources. The last strophe of t h e h y m n is u s u a l l y a p a r a p h r a s e of t h e d o x o l o g y (the s a m e d o x o l o g y - s t r o p h e c o u l d b e u s e d f o r a n y n u m b e r of h y m n s i n t h e s a m e m e t r e ) . ' A m e n ' is u s u a l l y s u n g at t h e e n d . A l a r g e n u m b e r of d i f f e r e n t p o e t i c m e t r e s m a y b e f o u n d , p a r t i c u l a r l y a m o n g e a r l y h y m n s : asclepiads, of t w o metres. d i s t i c h s ( u s u a l l y i n p r o c e s s i o n a l h y m n s ) , a n d so o n (Stablein s u r v e y s the c o m m o n e s t m e t r e s i n MGG). B u t t h e m a j o r i t y of h y m n s are w r i t t e n i n o n e

I a m b i c d i m e t e r x - ^ - x - ^ - f o u r t i m e s ) is t h e m e t r e of t h e f o u r h y m n s a t t r i b u t e d to S t A m b r o s e , a n d s u c h p o e m s w e r e f r e q u e n t l y k n o w n as ' A m b r o s i a n i ' . S t r o p h e s are of f o u r l i n e s , a n d t h e r e are t y p i c a l l y f o u r o r e i g h t s t r o p h e s i n a h y m n . S t a b l e i n r e c k o n e d t h a t t w o - t h i r d s of t h e r e p e r t o r y uses t h i s m e t r e . ( M e t r e s are e x p l a i n e d b e l o w , 1 1 . 2 7 . ) S a p p h i c m e t r e w a s t h e m o s t p o p u l a r of t h e a n t i q u e m e t r e s u s e d i n m e d i e v a l h y m n s . E a c h s t r o p h e h a s t h r e e f u l l l i n e s a n d a final h a l f - l i n e (as a d o n i c ) : -\j

KJ

(3 t i m e s ) w poetic compositions were often sufficiently highly regarded as artistic those diet nitet, perennis impie impie first is

Such

c r e a t i o n s f o r t h e i r a u t h o r s ' n a m e s to h a v e c o m e d o w n ( n o t a l l a s c r i p t i o n s a r e r e g a r d e d as s e c u r e ; A H 5 0 a n d 51 are c o l l e c t i o n s of a s c r i b e d t e x t s ) . B e s t k n o w n , b e s i d e s of S t A m b r o s e , a r e : P r u d e n t i u s ( d . c . 4 1 0 ) : Inventor nun tins, Pange auctor, etc. ornne saeculum, Salve festa cardine, Crux dies, benedicta Quern terra regis Hostis Herodes Herodes The pontus aethera, Tibi laus rutili, O crucifer bone, Pastis visceribus, Ales

V e n a n t i u s F o r t u n a t u s ( d . c . 6 0 0 ) : Agnoscat lingua, Vexilla

S e d u l i u s (first h a l f of fifth c e n t u r y ) : A solis ortus longer poems, some written for special occasions. p o e m as A solis

N o t a l l these w e r e o r i g i n a l l y d e s i g n e d as o f f i c e h y m n s , s o m e b e i n g e x t r a c t s f r o m T h u s Hostis ortus cardine. a c t u a l l y a later p a r t of t h e s a m e three

Prudentius h y m n s were sung d u r i n g processions, not d u r i n g the office.

(iii)

Music Others

M a n y h y m n s are t h r o u g h - c o m p o s e d , w i t h o u t r e m a r k a b l e m u s i c a l f e a t u r e s . h a v e s i m p l e repeat structures (aaba o r a b c a , for example).

I n many casesas a

n a t u r a l c o m p l e m e n t to s o m e repeat s t r u c t u r e s t h e h i g h e s t n o t e s o f t h e s t r o p h e c o m e i n the t h i r d l i n e , before the r e t u r n to the t o n i c . I n general h y m n s lack s u c h m u s i c a l f e a t u r e s as r e p e a t e d r e c i t i n g n o t e s , r e m i n i s c e n t o f t h e d e l i v e r y of p r o s e t e x t s . notes. Christe qui lux es et dies ( O H 3 0 , N H 12) h a s b e e n s u n g at C o m p l i n e s i n c e t h e t i m e It is g i v e n i n first. of t h e ' O l d H y m n a l ' . I t s ' o r i g i n a l ' m e l o d y c a n n o t b e d e t e r m i n e d i f i n d e e d it m a k e s sense t o t h i n k o f o n e at a l l , f o r t u n e s are so r e a d i l y i n t e r c h a n g e a b l e . E x . I I . 15.1 w i t h its c o m m o n e s t m e l o d y ( N o . 9 i n S t a b l e i n ' s e d i t i o n ) . It is t h e o n l y text f o r t h i s m e l o d y a n u n u s u a l s i t u a t i o n . T h e last l i n e of m e l o d y r e p e a t s t h e T h e h i g h e s t n o t e , G , o c c u r s i n t h e t h i r d l i n e , t h o u g h t h e r a n g e is so l i m i t e d t h a t t h i s m a k e s o n l y a s u b t l e i m p r e s s i o n . E v e n s o , t h i s s m a l l g e s t u r e is n e c e s s a r y , i s p r e p a r e d f o r i n fact, b y t h e r e p e t i t i v e s e c o n d l i n e . It is n o t u n c h a r a c t e r i s t i c t h a t t h e m e l o d y s t a r t s o n a n o t e a b o v e t h e final, a l t h o u g h t h e D final d o e s n o t s e e m s e r i o u s l y i n d o u b t . M o r e u n p r e d i c t a b l e t o n a l l y is Somno refectis artubus ( N H 14), u s u a l l y s u n g d u r i n g Quite o f t e n n o s t r o n g t o n a l c e n t r e is a p p a r e n t , a n d t h e l i n e s m a y c a d e n c e o n u n e x p e c t e d

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w i t h its commonest dierum

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( S t a b l e i n N o . 1 4 2 ; t h i s is also t h e c o m m o n e s t m e l o d y f o r Primo

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e q u i v a l e n t S u n d a y h y m n ) . T h e final E s o u n d s v e r y m u c h l i k e a n ' i m p e r f e c t ' c a d e n c e , w i t h p e r h a p s D as t h e ' r e a l ' final. A t a n y r a t e , t h a t is t h e i m p r e s s i o n o n e has f r o m t h e first t w o lines, w h i c h are the same but for their these hymns first-time/second-time their metre cadence. Both are ' A m b r o s i a n i ' . W h e t h e r w a s reflected i n

performance

i n . any w a y seems d o u b t f u l . I n i a m b i c d i m e t e r l o n g syllables c o u l d

occasionally be substituted for short ones. I n a performance w i t h l o n g and short notes (in effect, i n t r i p l e t i m e ) , either the regular r h y t h m w o u l d be d i s t u r b e d o r one w o u l d have to i g n o r e t h e variance i n t h e m e t r e . A n o t h e r c o n s i d e r a t i o n is the pattern of s t r e s s e d a n d u n s t r e s s e d s y l l a b l e s ( n o t t h e s a m e as l o n g a n d s h o r t ) . T h i s v a r i e s s o o f t e n f r o m l i n e to l i n e that a n y attempt to reflect it i n p e r f o r m a n c e (again, p e r h a p s t h r o u g h l o n g a n d short notes) seems m i s g u i d e d . T h i s is n o t to d e n y that t h e reflection of m e t r i c o r a c c e n t u a l p a t t e r n s i n t h e m u s i c ( t h r o u g h g r o u p s as o p p o s e d t o s i n g l e n o t e s , or with tonic accents) can sometimes be f o u n d , p a r t i c u l a r l y i n late medieval melodies. B u t clearly it constituted n o universal principle of word-setting. (See the d i s c u s s i o n o f t e x t r h y t h m i n 11.27.) T h e h y m n Ecce iam noctis ( N H 6 ) , u s u a l l y s u n g at L a u d s o n S u n d a y s , w a s w i d e l y s u n g t o m e l o d y 144 i n S t a b l e i n ' s e d i t i o n . T h e m e t r e is s a p p h i c . A s i n t h e p r e v i o u s t w o e x a m p l e s , t h e s i m p l i c i t y o f t h e m e l o d y m a y reflect h i g h age, o r i t m a y b e d u e t o t h e lesser s o l e m n i t y of t h e l i t u r g i c a l occasion. I n the S a r u m h y m n a r y used f o r the e x a m p l e s i n t h i s s e c t i o n , t w o m e l o d i e s are g i v e n f o r t h e h y m n . M e l o d y 144 i s u s e d f o r t h e s e c o n d s t r o p h e , w h i l e f o r t h e first s t r o p h e m e l o d y 107 i s g i v e n , as r e p r o d u c e d i n E x . I I . 1 5 . 3 . T h e t o n a l i t y o f m e l o d y 144 i s c l e a r e r t h a n t h a t o f E x . I I . 1 5 . 2 , f o r b (E i n

E x . I I . 15.3. T w o melodies for h y m n Ecce iam noctis ( O x f o r d , B o d l . L i b . L a u d lat. 95, f o . 144 )

v

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144 <fo

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. mise-ratus omnem

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pa-tris regna polorum.

donet et nobis

pi-e-tate

m a n y sources recognizable. Melody

w h i c h h a v e t h e m e l o d y a fifth l o w e r ) is a n n o u n c e d i n t h e first l i n e

c l e a r l y e n o u g h f o r t h e r e p e t i t i o n of t h e o p e n i n g p h r a s e at t h e e n d t o b e i n s t a n t l y 107 w a s also f a i r l y w i d e l y k n o w n , t h o u g h n o t i n F r a n c e , Virgin is proles firmly attached to a n y

p a r t i c u l a r text (Iste confessor

i n G e r m a n y , a n d so o n ) . It h a s

a r e l a t i v e l y m o d e r n a i r , p a r t l y because of the clear t o n a l i t y , despite the w a y t h e m e l o d y m o v e s e a s i l y t h r o u g h t h e w h o l e o c t a v e , p a r t l y b e c a u s e o f t h e ' G a l l i c a n ' final c a d e n c e , t h e f r e q u e n t s t e p s o f a t h i r d , a n d t h e r e p e t i t i o n , n o t o n l y of t h e first t w o l i n e s b u t w i t h i n t h e t h i r d a l s o , w h e r e t h e t o n a l area a b o v e t h e final i s e x p l o r e d f o r t h e o n l y t i m e . It is n o t i c e a b l e t h a t g r o u p s of m o r e t h a n o n e n o t e f a l l o n l y o n l o n g s y l l a b l e s o r at the e n d s o f l i n e s . B e c a u s e n o t a t i o n c a m e so late to t h e h y m n r e p e r t o r y it is i m p o s s i b l e t o k n o w howo l d m a n y m e l o d i e s m a y b e . F o r F o r t u n a t u s ' w e l l - k n o w n h y m n Pange proelium cert ami nis ( E x . I I . 15.4) S t a b l e i n lingua gloriosi Europe, m e l o d y 56 w a s s u n g a l l o v e r

t h o u g h h a l f a d o z e n o t h e r m e l o d i e s g a i n e d l o c a l a c c e p t a n c e (see S t a b l e i n 1950 f o r a p o s s i b l e p r e d e c e s s o r o f m e l o d y 5 6 ) . T h i s p o e m a n d t h e e q u a l l y w e l l - k n o w n Vex ilia regis prodeunt a p p e a r t o h a v e b e e n c o m p o s e d f o r Q u e e n R a d e g u n d a at t h e c o n v e n t o f regis i t t h e H o l y C r o s s i n P o i t i e r s , to w h o m t h e E m p e r o r J u s t i n i a n h a d g i v e n a f r a g m e n t o f t h e n e w l y d i s c o v e r e d T r u e C r o s s . T h e p o e m h a s t e n s t r o p h e s . L i k e Vexilla was taken u p into the Passiontide liturgy, different parts often being sung on

E x . 11.15.4. H y m n Pange lingua

( O x f o r d , B o d l . L i b . L a u d lat. 95, fo. if

141 )
v

v * *
m

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p r e - l i - u m certami - nis

i
et super crucis trophe-o die tri-umphum nobi-lem

_C

Cj E

fi

0,

quali-ter redemptor orbis

immola-tus ui-cerit.

d i f f e r e n t d a y s (the iam peracta,

commonest fidelis

d i v i s i o n s w e r e m a d e at s t r o p h e inter omnes). corporis A q u i n a s ( d . 1274)

6, Lustra

sex

qui

a n d 8, Cmx lingua

T h e p o p u l a r i t y of t h e h y m n e n t e r e d a took the o p e n i n g for his C o r p u s mysterium.

n e w phrase w h e n St T h o m a s C h r i s t i h y m n Pange

gloriosi

T h e t e x t is i n t r o c h a i c t e t r a m e t e r w i t h l i n e s of 84-7 s y l l a b l e s ( - ^ - x - ^ - x | | - w - x - w - ) . T h e m e l o d y c o n t a i n s t r a c e s of t r a d i t i o n a l G r e g o r i a n t u r n s of p h r a s e : t h e o p e n i n g is a c o m m o n m o d e 3 figure ( c o m p a r e E x . I I . 1 1 . 1 ) , c the u s u a l r e c i t i n g n o t e f o r t h i s m o d e ; a t h e n a s s u m e s its u s u a l r o l e as a g o a l f o r c a d e n c e s a b o v e t h e final ( w i t h a l i n k t h r o u g h D t o t h e l o w e r l i n e 5 a n d an i m p e r f e c t c a d e n c e f o r l i n e 5 i t s e l f ) . I n E x . I I . 15.4 t h e m e l o d i c v a r i a n t s f o r t h e n e x t h y m n i n t h e S a r u m m a n u s c r i p t , Lustra sex, are g i v e n o v e r t h e s t a v e . I n t h i s s o u r c e t h e w h o l e m e l o d y is g i v e n a f o u r t h h i g h e r , to a l l o w f o r b o t h bk[ a n d bb (L% a n d F t ) w h e n t r a n s p o s e d f o r the t r a n s c r i p t i o n ) . H y m n s of t h e l a t e r M i d d l e A g e s b e t r a y t h e s a m e m o d e r n s t y l i s t i c f e a t u r e s as o t h e r c h a n t s of the p e r i o d . I n s o m e c h u r c h e s a f r e e d o m t o s u p p l e m e n t t h e r e p e r t o r y w a s c l e a r l y f e l t , as w i t h o t h e r g e n r e s . M o s t n o t i c e a b l e i n t h e s t y l i s t i c a l l y later h y m n s are t h e w i d e r a n g e of t h e m e l o d i e s a n d the f r e e d o m of r a p i d m o v e m e n t w i t h i n that r a n g e , the clear emphasis on tonic (final) a n d d o m i n a n t ( u p p e r phrases Ex. between one the of scale-segments they I I . 15.3, five 119). mentis (Worcester, Cathedral C h a p t e r L i b . F . 160; P a l M u s melody 107. melodies command. They foreshadowed 11.15.5, Sanctorum E x . I I . 15.5. 12, 10*) in E x . fifth), a n d t h e d i v i s i o n of f e a t u r e s are already in for o b v i o u s l y present compendium These

are m o r e

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H y m n Sanctorum

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T h e u n i v e r s a l l y k n o w n m e l o d y f o r t h i s h y m n is S t a b l e i n ' s N o . 159, w h i c h is m o s t l y s y l l a b i c , t o n a l l y u n f o c u s e d , t h o u g h r e l a t i v e l y m o b i l e . It has t h e f o r m A B C A B C D , w i t h c a d e n c e s o n a, a, E, a, a, E, G ( W o r c e s t e r v e r s i o n , S t a b l e i n , p . 198) o r a, a, a, a, F, E ( N e v e r s v e r s i o n , S t a b l e i n , p . 102). t h e r e is n o d o u b t a b o u t t h e p r i m a c y of C a n d G. u p p e r s e g m e n t of t h e C s c a l e . A f t e r t h e r e p e t i t i o n of t h e F, two I n m e l o d y 4 2 0 , g i v e n as E x . I I . 1 5 . 5 , rather t h a n the

o p e n i n g l i n e s a n a l t e r n a t i v e t o n a l area is e x p l o r e d , F u p to c w i t h bb,

(iv)

Processional

Hymns The r e p e r t o r y is n o t l a r g e ( t h i r t y - t w o i n processional hymns). A large be

H y m n s were often s u n g i n processions. Stablein's repeated edition, of which not a l l are

actually

p r o p o r t i o n of p r o c e s s i o n a l h y m n s h a v e a r e f r a i n . O f t e n t h e f i r s t s t r o p h e w o u l d after each subsequent s t r o p h e . Pange lingua m e l o d y d i f f e r e n t f r o m the o n e just g i v e n ) , u s i n g Crux SI fidelis

was s u n g i n t h i s w a y (to a as the r e f r a i n s t r o p h e . I n are

s o m e h y m n s e a c h a l t e r n a t e r e p e t i t i o n of t h e r e f r a i n w a s of its s e c o n d h a l f a l o n e ( R I + 2 R 2 S 2 R l + 2 S 3 R 2 , e t c . ) . O n t h e o t h e r h a n d , t h e r e f r a i n s of s o m e h y m n s strophes. Fortunatus' well-known laus et honor are F a v o u r e d m e t r e s are h e x a m e t e r s , Salve festa dies examples in distichs. T h e largest c o l l e c t i o n of p r o c e s s i o n a l h y m n s of t h i s t y p e t h a t h a v e c o m e d o w n t o us is c o n t a i n e d i n S t G a l l , S t i f t s b i b l i o t h e k 381 ( f r o m S t G a l l , late t e n t h c e n t u r y ) , and 142-66 of St Gall Thus 381 the there appear first, Sacrata two series, of twelve is and five and items 'Versus be s m a l l e r s e l e c t i o n s are f o u n d i n o t h e r S t G a l l s o u r c e s ( e . g . S t G a l l 3 6 0 ) . O n p p . 2 3 - 5 0 respectively, composer's u s u a l l y c a l l e d versus name. ( r a t h e r t h a n hymnus), libri and frequently bearing a headed distichs, and trochaic tetrameter. m e l o d i c a l l y a n d e v e n m e t r i c a l l y i n d e p e n d e n t of t h e a n d T h e o d u l f of O r l e a n s ' s Gloria

dogmata,

H a r t m a n n i , ante e v a n g e l i u m c u m legatur c a n e n d i ' ('A versus by H a r t m a n n , to s u n g b e f o r e the g o s p e l is r e a d ' ; f a c s i m i l e i n S t a b l e i n , ' V e r s u s ' , MGG). G a u t i e r 1886, 2 3 - 9 ; 382): H a r t m a n n (d. 925): Cum natus Sacrata libri dogmata', Salve lacteolo prece decoratum

T h e l i s t of

a t t r i b u t e d p i e c e s is as f o l l o w s (see t h e r e m a r k a b l e ' f o o t n o t e ' s u r v e y i n g t h e r e p e r t o r y i n a l s o , p . 159, a n e l e v e n t h - c e n t u r y r h y m e d e x a m p l e f r o m S t G a l l (Innocents); generally,

esset Dominus

( I n n o c e n t s ) ; Humili clementem

(for feast-days

f o u n d i n m a n y a d a p t a t i o n s w i t h v e r s e s i n h o n o u r of v a r i o u s l o c a l s a i n t s ; m e l o d y i n W ' a g n e r I I I , 4 8 1 ) ; a n d Suscipe F o r t u n a t u s : Salve omnipotens terra festa dies spes mundi (see S t o t z , 1 9 8 2 ; u s e d as Humili sancte dei (St Gall) prece)', Laudes lux plebs devotissima, o n e of t h e final t h r e e v e r s u s of t h e c o l l e c t i o n w h i c h are f o r t h e r e c e p t i o n of a k i n g R a t p e r t ( d . 8 8 4 ) : Ardua

('ad e u c h a r i s t i a m s u m e n d a ' ' a s the e u c h a r i s t is t a k e n u p ' ) ; Aurea beati gerininis benedicte ('about the O l d T e s t a m e n t ' ) ( f o r the r e c e p t i o n of a k i n g )

( f o r t h e r e c e p t i o n of a q u e e n ) ; Annua

N o t k e r ( d . 9 1 2 ) : Ave

W a l d r a m m ( d . r . 9 0 0 ) : Rex

R a t p e r t ' s A / r / w a spes mundi f e w a p p e a r i n later s o u r c e s ; Stablein, M M M A refrain arrangement

m a y s e r v e as an e x a m p l e o f t h e S t G a l l v e r s u s .

(Rather

a l l those that c a n be t r a n s c r i b e d have been e d i t e d b y

1, 4 7 8 f f . ; t e x t s i n A H 5 0 , u n f o r t u n a t e l y n o t a l w a y s m a k i n g t h e c l e a r ; see also e x a m p l e s i n W a g n e r I I I , 4 8 0 - 2 ) . I n t h e R o u e n century) spes a n d Humiliprece are s u n g i n

cathedral manuscript (Paris, Bibliotheque Nationale, lat. 904, thirteenth f r o m w h i c h E x . I I . 1 5 . 6 i s t r a n s c r i b e d , both Ardua

the processions before mass o n the Rogation D a y s leading up to A s c e n s i o n D a y (the w e e k d a y s f o l l o w i n g the fifth S u n d a y after E a s t e r ) . I n b o t h chants verses i n h o n o u r of R o u e n s a i n t s a r e a d d e d t o t h o s e a l r e a d y p r e s e n t ; Ardua spes i n v o k e s R o m a n u s a n d

E x . I I . 15.6.

F r o m processional h y m n Ardua

spes mundi (Paris, B i b l . N a t . lat. 904, fo. 136 )

r

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Christe . . .

A u d o e n u s . T h e s a m e m e l o d y is u s e d f o r t h e r e f r a i n a n d t h e s t r o p h e s ( s o m e o t h e r processional h y m n s have t w o different m e l o d i e s ) .

11.16.

C H A N T S

F O R T H EO R D I N A R Y

O F

M A S S

I n t h e s t u d y of c h a n t , t h e t e r m ' o r d i n a r y o f m a s s ' u s u a l l y s i g n i f i e s t h o s e c h a n t s w h o s e t e x t s r e m a i n t h e s a m e f r o m o n e m a s s to t h e n e x t , t h a t i s , K y r i e , festal masses: t h e a n t i p h o n s Asperges me (outside Eastertide) est Gloria, Credo, aquam S a n c t u s , a n d A g n u s D e i . T h e r e are a f e w o t h e r u n v a r y i n g c h a n t s w h i c h are s u n g at a n d Vidi egredientem further here. Benedicamus ( d u r i n g Eastertide) domino with their psalm verses; missa these are not c o n s i d e r e d a n d its r e l a t i o n , the

T h e s p e c i a l case of t h e v e r s i c l e Ite

v e r s i c l e at t h e c l o s e o f o f f i c e h o u r s , a r e d i s c u s s e d b r i e f l y at t h e

e n d of t h i s s e c t i o n . L o o k i n g at t h e l i t u r g y of m a s s as a w h o l e , h o w e v e r , t h e o r d i n a r y c o m p r i s e s all texts w h i c h r e m a i n the same f o r each m a s s : not o n l y the chants b u t the p r a y e r s as w e l l . A l t h o u g h t h e t e x t s of t h e five m a i n o r d i n a r y c h a n t s r e m a i n t h e s a m e , t h e y w e r e set to n u m e r o u s d i f f e r e n t m e l o d i e s . T h e s e w e r e o f t e n a s s o c i a t e d w i t h p a r t i c u l a r feasts o r grades of l i t u r g i c a l c e l e b r a t i o n . E a r l y sources are n o t o f t e n specific about the assignment of the chants, b u t there seems little d o u b t that each c h u r c h w o u l d have its o w n established customs i n this respect, the o r d i n a r y chants, even before rubricated collections became refer specifically to c o m m o n i n t h e t h i r t e e n t h c e n t u r y . L a r g e n u m b e r s of t r o p e v e r s e s are k n o w n f o r a l l excepting only the C r e d o . T h e s e often p a r t i c u l a r feasts a n d t h u s m a k e t h e c h a n t ' p r o p e r ' r a t h e r t h a n ' o r d i n a r y ' . ( T r o p e s f o r o r d i n a r y c h a n t s are d i s c u s s e d b e l o w , 1 1 . 2 3 . ) S h o r t s e c t i o n s are n o w d e v o t e d t o e a c h of t h e five c h i e f o r d i n a r y c h a n t s . It s h o u l d be n o t e d i n a d v a n c e , h o w e v e r , that m u c h r e s e a r c h , t r a n s c r i b i n g , a n d a n a l y s i n g n e e d s to b e d o n e b e f o r e a r o u n d e d p i c t u r e of t h e s e c h a n t s c a n b e m a d e u p . F o r m a n y y e a r s t h e b e s t - k n o w n m e l o d i e s h a v e b e e n t h o s e e d i t e d i n t h e S o l e s m e s / V a t i c a n Kyriale ordinarium Solesmes Sanctus, missae Liber of 1 9 0 5 , w h i c h then passed i n t o t h e V a t i c a n Graduale usualis. E i g h t e e n sets w e r e p u b l i s h e d , c o m p r i s i n g K y r i e , sen and Gloria,

a n d A g n u s , p l u s f o u r C r e d o s e t t i n g s (later i n c r e a s e d t o s e v e n ) a n d o t h e r and two Agnus.

chants 'ad l i b i t u m ' e l e v e n K y r i e s , three G l o r i a s , three Sanctus,

T h e s e chants represent o n l y a fraction of the m e d i e v a l r e p e r t o r y , h o w e v e r , a n d the vast m a j o r i t y r e m a i n u n a v a i l a b l e f o r s t u d y . It is f a i r to p o i n t o u t that m a n y m e l o d i e s h a d o n l y a l o c a l c i r c u l a t i o n m a n y are k n o w n f r o m b u t a s i n g l e s o u r c e a n d t h e m o s t p o p u l a r are a v a i l a b l e i n t h e V a t i c a n s e l e c t i o n . B u t u n t i l m o r e are k n o w n it w i l l b e d i f f i c u l t t o j u d g e w h a t is t y p i c a l of t h e r e p e r t o r y as a w h o l e , o r of p a r t i c u l a r p e r i o d s a n d areas, a n d w h a t is e c c e n t r i c . T h e g r o u n d w o r k f o r f u t u r e s t u d y has b e e n e s t a b l i s h e d b y t h e c a t a l o g u e s p r o d u c e d on t h e b a s i s o f t h e m i c r o f i l m c o l l e c t i o n at E r l a n g e n - N u r e m b e r g U n i v e r s i t y , b y L a n d w e h r - M e l n i c k i , B o s s e , T h a n n a b a u r , a n d S c h i l d b a c h . T h e l a c k of B r i t i s h s o u r c e s in the c o l l e c t i o n , a n d c o n s e q u e n t l y i n the catalogues, has been m a d e g o o d by H i l e y

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( 1 9 8 6 , ' O r d i n a r y ' ) . Y e t t h e e a r l i e s t s o u r c e s of a l l , t h o s e of t h e t e n t h c e n t u r y , t h e o l d e s t r e c o r d e d m e l o d i e s r e m a i n to a n s w e r e d . T h e g a p h a s b e e n m o r e o r less A comparable been catalogue e x i s t s f o r C r e d o m e l o d i e s , b y M i a z g a , b u t its s c o p e s c h o l a u n t i l r e l a t i v e l y late, and even then by no fifteenth settings, whereas the represented.

p o o r l y r e p r e s e n t e d i n t h e s e c a t a l o g u e s , a n d s e v e r a l q u e s t i o n s a b o u t t h e d i s t r i b u t i o n of i n t h e case of t h e K y r i e b y B j o r k , t h e G l o r i a b y R o n n a u , a n d t h e A g n u s b y A t k i n s o n . e m p h a s i s is d i f f e r e n t . E a r l y s o u r c e s f o r t h e C r e d o are s p a r s e , f o r it d o e s n o t s e e m to have s u n g b y the means other u n i v e r s a l l y . F l o r i d c h o i r s e t t i n g s are r a r e b e f o r e the c e n t u r y . M i a z g a ' s lists

are d o m i n a t e d b y t h e g r e a t m a s s of e i g h t e e n t h - c e n t u r y

catalogues h a r d l y go b e y o n d the M i d d l e A g e s ; a n d M i a z g a ' s chief c o n c e r n was the t r a d i t i o n of P o l a n d : l a t e r W e s t E u r o p e a n s o u r c e s are less w e l l

A t o n e p e r i o d o r a n o t h e r it has b e e n t h e c u s t o m f o r t h e w h o l e c o n g r e g a t i o n to s i n g t h e o r d i n a r y c h a n t s . I n t h e e a r l y c e n t u r i e s t h i s w a s c e r t a i n l y t h e case, a n d t h e q u e s t i o n as to w h e t h e r a n y m e l o d i e s m i g h t h a v e s u r v i v e d f r o m t h i s t i m e has f a s c i n a t e d scholars f o r m a n y y e a r s . S o m e s i m p l e m e l o d i e s , s u c h as m i g h t h a v e b e e n s u n g b y t h e p e o p l e , h a v e i n d e e d c o m e d o w n t o u s . Y e t t h e s o u r c e s w h i c h c o n t a i n t h e m are i n v a r i a b l y l a t e , l a t e r t h a n t h o s e f o r m o r e e l a b o r a t e c h a n t s . A d e g r e e of c a u t i o n is t h e r e f o r e remembered necessary w h e n j u d g i n g t h e c l a i m s t o a n t i q u i t y of t h e s e c h a n t s . O n t h e o t h e r h a n d , it has to b e t h a t o u r e a r l y s o u r c e s are n e a r l y a l l c a n t o r s ' m a n u s c r i p t s , c o n t a i n i n g m u s i c f o r t h e t r a i n e d s c h o l a a n d e s p e c i a l l y f o r s o l o i s t s . S h o u l d w e e x p e c t t h e m to r e c o r d c o n g r e g a t i o n a l c h a n t s ? W e are n o t b e i n g a s k e d to s u b s c r i b e t o t h e b e l i e f t h a t e l a b o r a t e c h a n t s g r e w o u t of s i m p l e o n e s : t h a t w o u l d b e a n a i v e l y s i m p l i s t i c v i e w of p l a i n c h a n t h i s t o r y . T h e q u e s t i o n is o n e of f u n c t i o n . C h a n t s u n d e r g o c h a n g e s , o r n e w c h a n t s are c o m p o s e d , w h e n t h e l i t u r g i c a l c o n d i t i o n s c h a n g e . W h e n t h e s c h o l a t a k e s o v e r t h e s i n g i n g of a c h a n t f r o m t h e c o n g r e g a t i o n (it is s t i l l a c t i n g i n l i e u of congregation), then we should expect different music to develop. But if c o n g r e g a t i o n s t i l l s a n g t h e c h a n t s , at least o c c a s i o n a l l y , t h e r e w o u l d h a v e b e e n the the no

p r e s s u r e to c h a n g e . I n t h e s e c i r c u m s t a n c e s c h a n t s m i g h t w e l l h a v e s u r v i v e d t h r o u g h c e n t u r i e s of u n w r i t t e n t r a d i t i o n . A s W a g n e r s a i d of A g n u s V a t i c a n X V I I I , o n e of t h e s i m p l e c h a n t s i n q u e s t i o n : ' T h e i n d i c a t i o n i n t h e S o l e s m e s b o o k s t h a t it o r i g i n a t e d i n t h e t w e l f t h c e n t u r y is c e r t a i n l y w r o n g . It m a y w e l l be t h a t it d o e s n o t o c c u r i n a n y e a r l i e r n o t a t e d c h a n t - b o o k ; b u t t h a t is n o t d e c i s i v e as f a r its age is c o n c e r n e d . Is o u r p r e f a c e t o n e o n l y as o l d as its e a r l i e s t w r i t t e n o c c u r r e n c e ? ' ( W a g n e r I I I , 448). S t y l i s t i c a n a l y s i s h a s s e e m e d to o f f e r i n s i g h t s i n t o t h e p r o b l e m . T h u s L e v y (1958 63) has m a d e a b o l d a t t e m p t to l i n k a S a n c t u s m e l o d y to o t h e r s t y l i s t i c a l l y s i m i l a r c h a n t s , B y z a n t i n e as w e l l as W e s t e r n , t o r e v e a l a ' m o d a l a r e a ' f r o m w h i c h t h e s i n g i n g of t h e w h o l e B y z a n t i n e o r d i n a r y is d e r i v e d a n d t h e a n a p h o r a as w e l l ( t h a t i s , t h e p r a y e r s b e g i n n i n g w i t h the preface, b e e n a d d u c e d as e v i d e n c e . I n w h a t f o l l o w s s o m e a t t e n t i o n is t h e r e f o r e p a i d to p o s s i b l e e a r l y m e l o d i e s . A f e w e x a m p l e s f r o m t h e c e n t r a l r e p e r t o r y of t h e t e n t h to t w e l f t h c e n t u r i e s are d i s c u s s e d of w h i c h t h e S a n c t u s is a p a r t , t h e m e m o r i a l of the i n c a r n a t i o n a n d w o r d s of i n s t i t u t i o n ) . I n t h e case of K y r i e a n d A g n u s , l i t a n i e s h a v e

(the b i g g e s t c o l l e c t i o n s n e a r l y a l l date f r o m t h e t w e l f t h c e n t u r y ) , a n d o n e o r t w o q u i t e d i f f e r e n t l a t e r c h a n t s (the f i f t e e n t h c e n t u r y m a r k s a n e w h i g h p o i n t i n p r o d u c t i o n ) are also i n c l u d e d . A p a r t f r o m those i n the V a t i c a n b o o k s , m e l o d i e s have a p p e a r e d rather h a p h a z a r d l y in facsimile or modern editions. The following may be consulted (mentioning are 5319 The f a c s i m i l e s o n l y of m a n u s c r i p t s i n d i a s t e m a t i c n o t a t i o n ) . T w o R o m a n c o l l e c t i o n s available, the t r a n s c r i p t i o n f r o m R o m e , B i b l i o t e c a A p o s t o l i c a V a t i c a n a , V a t . lat. in M M M A 2, a n d t h e f a c s i m i l e of B o d m e r C . 74 edited by L u t o l f (1987).

B e n e v e n t a n m a n u s c r i p t B e n e v e n t o , B i b l i o t e c a C a p i t o l a r e V I . 3 4 , is g i v e n i n f a c s i m i l e i n P a l M u s 15. T r a n s c r i p t i o n s b y B o e of the B e n e v e n t a n r e p e r t o r y are i n t h e c o u r s e of p u b l i c a t i o n . A f a c s i m i l e of a N o n a n t o l a m a n u s c r i p t has b e e n p u b l i s h e d b y V e c c h i ( 1 9 5 5 ) . F r e n c h s o u r c e s are p o o r l y r e p r e s e n t e d , o n l y t h e C h a r t r e s m e l o d i e s i n P a l M u s 17 b e i n g a v a i l a b l e . O n the o t h e r h a n d , t w o f a c s i m i l e s of S a r u m c h a n t s h a v e p u b l i s h e d , i n Graduale Sarisburiense S a n d o n (1984). F o r E a s t e r n sources we have M a r x e r ' s t r a n s c r i p t i o n s f r o m St f a c s i m i l e of t h e Graduale Pataviense of 1511. missa est been Gall, a n d M M S 4 , a n d an e d i t i o n has b e e n m a d e b y

S t i f t s b i b l i o t h e k 546 ( 1 9 0 8 ) a n d t h o s e f r o m o t h e r m a n u s c r i p t s b y S i g l ( 1 9 1 1 ) , a n d t h e

F e w e a r l y s o u r c e s i n d i c a t e w h a t m u s i c w a s u s e d f o r s i n g i n g t h e v e r s i c l e he a n d its r e s p o n s e Deo gratias. f o r t h e p u r p o s e , o r t o s h a r e a m e l o d y w i t h t h e o f f i c e v e r s i c l e Benedicamus m u s i c , f o r e x a m p l e , t h e m e l i s m a s of o f f i c e r e s p o n s o r i e s . H u g l o 1982, ' D e b u t s ' ; R o b e r t s o n 1988.)

It a p p e a r s to h a v e b e e n p o p u l a r to a d a p t a K y r i e m e l o d y domino 74-6;

(also s o m e t i m e s s u n g at m a s s ) . T h e B e n e d i c a m u s l i k e w i s e r e l i e d h e a v i l y o n b o r r o w e d ( S e e H a r r i s o n 1963,

11.17. (i) (ii) (iii) (iv) (v) (vi)

K Y R I E

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K y r i e eleison as a L i t a n y K y r i e eleison after the Introit at Mass Early Melodies Italian M e l o d i e s Melodic Types Later Melodies L a n d w e h r - M e l n i c k i 1955; C r o c k e r , ' K y r i e eleison', A G ; Bjork

S t a b l e i n , ' K y r i e ' , MGG; 1 9 7 9 - 8 0 ; Boe 1989. (i) Kyrie eleison as a

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' K y r i e e l e i s o n ' is a l i t a n y f o r m u l a a n d has b e e n s u n g as a c h o r a l r e f r a i n i n a n s w e r to p e t i t i o n s of o n e k i n d o r a n o t h e r at least s i n c e t h e f o u r t h c e n t u r y (as w i t n e s s e d n u m e r o u s m e d i e v a l l i t a n i e s , as i n t h e s e t w o e x a m p l e s : by E g e r i a i n J e r u s a l e m ) a n d i n the W e s t at least s i n c e t h e f i f t h c e n t u r y . It c a n be f o u n d i n

K y r i e eleison. C h r i s t e eleison. K y r i e eleison. Pater de celis D e u s miserere nobis. F i l i r e d e m p t o r m u n d i clemens miserere nobis. S p i r i t u s sanctus D e u s miserere nobis. Q u i es t r i n u s et u n u s D e u s miserere n o b i s . Sancta virgo v i r g i n u m ora pro nobis. [ T h e n a series of saints' names, each f o l l o w e d b y 'ora pro nobis'.] K y r i e eleison. C h r i s t e eleison. D o m i n e miserere. C h r i s t e miserere. Miserere nostri pie rex d o m i n e Iesu C h r i s t e . C h r i s t e a u d i nos. Sancta M a r i a ora pro nobis. [ T h e n a series of saints' names, each f o l l o w e d by 'ora pro nobis'.] F u r t h e r ' K y r i e ' i n v o c a t i o n s are s u n g at t h e e n d . T h e i n v o c a t i o n is a s t a n d a r d c o m p o n e n t of t h e p r e c e s s u n g i n t h e G a l l i c a n l i t u r g y , w h i c h s u r v i v e i n a f e w m e d i e v a l s o u r c e s (of w h i c h P a r i s , B i b l i o t h e q u e N a t i o n a l e , l a t . 7 7 6 a n d 903 are the b e s t k n o w n ) . E x . I I . 17.1 g i v e s the o p e n i n g of o n e of t h e s e . H e r e ' K y r i e e l e i s o n ' is r e p e a t e d a f t e r e a c h v e r s e . A l l t h e verses h a v e t h e s a m e b a s i c m e l o d y . ( I n P a r i s 9 0 3 t h e K y r i e i n v o c a t i o n is s u n g to a m e l o d y m o r e c l o s e l y r e s e m b l i n g t h e v e r s e s t h a n is t h e case h e r e . ) E x . I I . 17.1. L i t a n y ( C a m b r a i , B i b l . M u n . 61, fo. 152 )
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O n e c o m p o s i t i o n w i t h t h i s f o r m a p p e a r s a m o n g the K y r i e s of e a r l y R o m a n T h i s is t h e K y r i e w i t h L a t i n v e r s e s b e g i n n i n g Devote i n v o c a t i o n , n o t Christe 1990, eleison. canentes, in the eleison R o m e , B i b l i o t e c a A p o s t o l i c a V a t i c a n a , V a t . l a t . 5 3 1 9 . O n l y Kyrie

sources.

manuscript is s u n g as a n 1989, at

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' I t a l i a n ' ; the K y r i e is e d i t e d b y M e l n i c k i i n M M M A 2 , 587 a n d b y B o e

7 4 . ) A s B o e has p o i n t e d o u t , t h i s K y r i e m a y , i n s o m e f o r m o r o t h e r , b e v e r y a n c i e n t , f o r its s e v e n t h L a t i n v e r s e is a p e t i t i o n a g a i n s t t h e A r i a n h e r e s y , w h i c h i n R o m e least w a s d e f e a t e d as e a r l y as the f o u r t h c e n t u r y .

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T h e u s u a l p l a c e f o r a l i t a n y i n t h e E a s t w a s a f t e r the l e s s o n s at m a s s , a n d h o w it c a m e to o c c u p y its R o m a n p o s i t i o n a f t e r t h e i n t r o i t is u n c l e a r . It is f o u n d t h e r e i n O r d o Romanus I (early eighth century), no longer, it s e e m s , a song for the whole be congregation, b u t one for the schola, w h o sang invocations u n t i l the p o n t i f f gave the s i g n a l to s t o p . O n l y the s i m p l e G r e e k t e x t is m e n t i o n e d , b u t t h e p o s s i b i l i t y c a n n o t e x c l u d e d that f u r t h e r verses were sometimes r e m a r k s i n t h e l e t t e r of G r e g o r y I ( d . 604) w r i t e s t h a t i n R o m e Kyrie to B i s h o p J o h n of S y r a c u s e : s u n g . T h a t is c e r t a i n l y t h e i m p o r t of Gregory a n d that o n non-festal days o n l y

is s u n g as o f t e n as Christe,

the G r e e k text w a s s u n g , n o t the l o n g e r verses s u n g o n o t h e r o c c a s i o n s ; t h e schola s i n g s first a n d t h e c o n g r e g a t i o n answers. O r d o R o m a n u s I V , a F r a n k i s h r e c e n s i o n ( s u r v i v i n g i n a S a i n t - A m a n d source) of p r e v i o u s R o m a n o r d i n e s o f t h e late e i g h t h c e n t u r y , h a s t h e n u m b e r o f p e t i t i o n s f i x e d at n i n e . T h i s is p r e s u m a b l y t h e f o r m w i t h w h i c h w e are f a m i l i a r : Kyrie Christe Kyrie eleison eleison eleison ( L o r d have m e r c y ) : three ( L o r d have m e r c y ) : three irnashave times times times L a t i n verses. O u r earliest ( C h r i s t have m e r c y ) : three

( T h e e n d i n g eleison

m e r c y o n u s f o r t h e final p h r a s e is o c c a s i o n a l l y

f o u n d i n e a r l y s o u r c e s . ) T h e O r d o says n o t h i n g a b o u t

s o u r c e s w i t h m u s i c u n f o r t u n a t e l y date f r o m m u c h later (as i s so o f t e n t h e c a s e ) . H e r e w e find n o t o n l y m e l o d i e s w i t h t h e G r e e k t e x t a l o n e b u t a l s o c o m p o s i t i o n s w i t h L a t i n verses. These have been traditionally regarded as t r o p e s , later a d d i t i o n s to the c o m p o s i t i o n . I n t h e sense t h a t t h e G r e e k i n v o c a t i o n s f o r m a n u c l e u s a r o u n d w h i c h L a t i n v e r s e s c o u l d b e a d d e d , t h i s is n o t i n c o r r e c t . Y e t f r o m t h e m u s i c a l p o i n t o f v i e w t h e m a t t e r i s n o t q u i t e so s i m p l e . A s C r o c k e r ( 1 9 6 6 ; see also ' K y r i e e l e i s o n ' , A G )
r

p o i n t e d o u t , f o r s e v e r a l m e l o d i e s t h e first r e c o r d e d a p p e a r a n c e h a s t h e m w i t h L a t i n v e r s e s . W e h a v e n o p r o o f that t h e m e l o d y w a s first c o n c e i v e d f o r t h e G r e e k t e x t a l o n e . A n d i n v i e w of G r e g o r y ' s statement a n d t h e e x i s t e n c e o f n u m e r o u s t y p e s of l i t a n y text. verses i n v o l v i n g b o t h G r e e k a n d L a t i n verses, it seems p r u d e n t to a d m i t the p o s s i b i l i t y that n e w K y r i e s m i g h t b e c o m p o s e d f r o m t h e start w i t h L a t i n D i s c u s s i o n of the various ways i n w h i c h c o m b i n a t i o n s of G r e e k a n d L a t i n w e r e m a d e is p o s t p o n e d u n t i l t h e s e c t i o n o n t r o p e s (see 11.23. v i i i ) .

( i i i ) Early

Melodies

F r o m B j o r k ' s s u r v e y of t h e earliest s o u r c e s ( 1 9 7 9 - 8 0 ) it i s c l e a r t h a t v e r y f e w m e l o d i e s were k n o w n all over E u r o p e at t h e e a r l i e s t period for which w e have definite i n f o r m a t i o n , t h e t e n t h c e n t u r y . T h e best k n o w n w e r e t h e f o l l o w i n g ( n u m b e r s f r o m L a n d w e h r - M e l n i c k i ' s catalogue, followed b y the n u m b e r i n m o d e r n V a t i c a n b o o k s ) : 55 ( V a t . a d l i b . V I ) , 68 ( V a t . X I V ) a n d 155 ( V a t . X V ) . E a r l y R h e n i s h a n d E a s t e r n s o u r c e s also h a v e : 39 ( V a t . I ) , 144, a n d 151 ( V a t . X V I I I ) , w h i l e W ' e s t e r n sources h a v e : 4 7 ( V a t . V I ) , 102 ( V a t . a d l i b . I ) , a n d 124. T h e n u m b e r i n c r e a s e d r a p i d l y i n s u b s e q u e n t c e n t u r i e s , as M e l n i c k i ' s c a t a l o g u e s h o w s . ( I t l i s t s 2 2 6 m e l o d i e s , a n d as more sources are s u r v e y e d m o r e melodies m a y be a d d e d . ) M a n y were of l o c a l s i g n i f i c a n c e o n l y . T h e m o d e r n V a t i c a n b o o k s have a s e l e c t i o n of m e l o d i e s of w i d e l y d i f f e r i n g age a n d p r o v e n a n c e ( H u g l o 1 9 5 8 ) . It is n o t c l e a r i f t h e r e s u r v i v e a m o n g t h e o l d e s t r e c o r d e d m e l o d i e s a n y c o m p o s i t i o n s f r o m earlier centuries. for themselves, It w o u l d n o t b e easy f o r a n y s i m p l e m e l o d i e s s u c h as t h e the further period through to t h e e a r l i e s t sources c o n g r e g a t i o n m i g h t h a v e s u n g to h a v e s u r v i v e d w h e n t h e s c h o l a a s s u m e d t h e s i n g i n g and during ( t h e m s e l v e s ^ d e s i g n e d t o reflect t h e s i n g i n g of t h e s c h o l a ) . M a n y of t h e e a r l y m e l o d i e s

g i v e t h e i m p r e s s i o n of b e i n g s o p h i s t i c a t e d , c a r e f u l l y d e s i g n e d p i e c e s , rather for c o m p o s i t i o n by F r a n k i s h musicians. Kyrie (Ex. 55 (Vat. ad lib. VI) d i s p l a y s f e a t u r e s t y p i c a l of e a r l y

w h i c h speak melodies

Kyrie

II. 17.2). T h e

f o r m of the p i e c e is A B A C D C E F E x , w h e r e E x s i g n i f i e s an

e x t e n d e d v e r s i o n of E . T h e c o m p o s e r sets o u t v e r y d e l i b e r a t e l y to e x p l o r e d i f f e r e n t r e g i s t e r s , so that B has a l o w e r t e s s i t u r a t h a n A , D is l o w e r t h a n C , F t h a n E . T h e r e is a l s o a g r a d u a l r i s e t h r o u g h the t h r e e m a i n s e c t i o n s . A rises to r , i n C the m e l o d y the t o u c h e s d f o r the first t i m e , w h i l e E m o v e s u p to t h e h i g h e r o c t a v e . T h e final e x t e n d e d i n v o c a t i o n has itself a n A A B f o r m , a n o t u n c o m m o n w a y of b u i l d i n g t o w a r d s c l i m a x of t h e c o m p o s i t i o n . Ex. I I . 17.2. K y r i e 55, V a t i c a n ad l i b . V I ( C a m b r a i , B i b l . M u n . 61, f o . l 5 5 )
v

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T h i s s o r t of m e l o d i c d e s i g n , b a l a n c i n g l o w e r a g a i n s t h i g h e r p h r a s e s a n d g r a d u a l l y p u s h i n g t o w a r d s h i g h e r m e l o d i c g o a l s , is also f o u n d i n m a n y e a r l y s e q u e n c e s , a n d w h e n t h e K y r i e m e l o d y is s u n g w i t h a L a t i n t e x t , o n e s y l l a b l e p e r n o t e , s e q u e n c e , the r e s e m b l a n c e Ex. text Eccepulchra, Ex. I I . 1 7 . 2 w i t h t h e last p h r a s e of the s e q u e n c e m e l o d y k n o w n as ' L y r a ' , virga, Hughes, 45.) The like the is e v e n s t r o n g e r . ( O n e m i g h t c o m p a r e t h e last p h r a s e of commonest

A n s e l m H u g h e s 1934, 5 4 ; o r w i t h the s e v e n t h a n d t h e last p h r a s e of

' H o d i e M a r i a v i r g o ' , text Aurea

I I . 17.3 s h o w s m e l o d y 68 i n L a n d w e h r - M e l n i c k i ' s c a t a l o g u e ( V a t . X I V ) .

o v e r a l l s c h e m e is s i m p l e r : A A A B B B C C C x . T h e last d o z e n o r so n o t e s of A a n d B are the s a m e , b u t B b e g i n s b y m o v i n g c o n f i d e n t l y u p w a r d to c , to be f o l l o w e d b y t h e e v e n higher-lying C section. cdd. T h e e x p a n d e d final i n v o c a t i o n is p a r t i c u l a r l y l i a b l e to v a r y i n g t r e a t m e n t i n d i f f e r e n t m a n u s c r i p t s . E x . I I . 17.4 s h o w s m e l o d y 155 ( V a t . X V ) , b u t n o t a l l s o u r c e s h a v e t h e C h a r a c t e r i s t i c a l l y , t h e b r i e f e x p a n s i o n i n C x c o n s i s t s of a p a r t i a l r e p e t i t i o n of w h a t has p r e c e d e d , i n c l u d i n g the s o - c a l l e d ' G a l l i c a n ' c a d e n c e ,

154

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last v e r s e i n t h e f o r m g i v e n h e r e . O n c e a g a i n t h e f o r m A B A C D C E F E x is u s e d , b u t E x a c t u a l l y c o m b i n e s E a n d F . A , B , C , D , a n d E a l l h a v e t h e s a m e e n d i n g . A n d yet a g a i n a c o n s i s t e n t p a t t e r n of h i g h e r a n d l o w e r p h r a s e s m a y b e o b s e r v e d . I n t h i s case t h e p r o g r e s s i o n f r o m A to C to E is a c h i e v e d s i m p l y b y a d d i n g h i g h e r n o t e s at t h e s t a r t of w h a t is t h e s a m e b a s i c p h r a s e throughout. verseverses between C o m p o s e r s evidently delighted i n the possibilities offered b y the thrice-three s c h e m e . A l l m a n n e r of r e p e t i t i o n p a t t e r n s a n d p a r t i a l c o r r e s p o n d e n c e m a y be d i s c o v e r e d .

( i v ) Italian

Melodies

T h a t t h e s e t h r e e m e l o d i e s w e r e so p o p u l a r ( a n d a n u m b e r of o t h e r s r u n t h e m c l o s e w h e n t h e g r e a t e r n u m b e r of s o u r c e s f r o m t h e e l e v e n t h a n d t w e l f t h c e n t u r i e s i s t a k e n

i n t o a c c o u n t ) s e e m s to i n d i c a t e t h a t t h e y a n s w e r e d w e l l to t h e g e n e r a l sense of h o w a K y r i e s h o u l d b e s u n g . T h e i r f e a t u r e s are t y p i c a l of a l a r g e n u m b e r of e a r l y s h o w little interest i n repetition schemes Ex. I I . 17.2. Kyrie m e l o d i e s . B u t not all melodies have this character. E a r l y Italian K y r i e s , for e x a m p l e , a n d t h e u p w a r d s u r g e s so n o t i c e a b l e i n canentes etc., T h e a b o v e - m e n t i o n e d K y r i e w i t h L a t i n verses Devote

s u n g to m e l o d y 77 i n L a n d w e h r - M e l n i c k i ' s c a t a l o g u e , h a s t h e s a m e m e l o d y f o r a l l i n v o c a t i o n s ( a n d all L a t i n verses), a n d a static, repetitious q u a l i t y . So does m e l o d y 52, a s s o c i a t e d w i t h t h e L a t i n v e r s e s Auctor Ex. II.17.5. K y r i e 77 and K y r i e 52 ( R o m e , B i b l . V a l l i c . C . 52, fos. 153 ,
r

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e t c . T h e s e t w o m e l o d i e s are g i v e n i n

E x . I I . 17.5.

150 )
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S i n c e t h e e a r l i e s t I t a l i a n s o u r c e s d a t e f r o m t h e e l e v e n t h c e n t u r y (the e a r l i e s t R o m a n o n e f r o m as late as 1 0 7 1 ) , t h e y are a u t o m a t i c a l l y e x c l u d e d f r o m t h e ' e a r l i e s t ' l a y e r . T h i s n e e d n o t m e a n , h o w e v e r , t h a t t h e m e l o d i e s t h e y c o n t a i n are n e c e s s a r i l y a n c i e n t , o n l y t h a t t h e y c a n n o t b e p r o v e n t o b e s o . S t a b l e i n ( ' K y r i e ' , MGG, Ex. less 9)

p r i n t s o n e m e l o d y ( L a n d w e h r - M e l n i c k i 84) f r o m a R o m a n s o u r c e t h a t is so s i m p l e that it m i g h t b e c e n t u r i e s o l d ; o r it m i g h t b e a r e l a t i v e l y late c o m p o s i t i o n d e l i b e r a t e l y m a d e s i m p l e f o r f e r i a l u s e , as L a n d w e h r - M e l n i c k i 7 s e e m s to h a v e b e e n .

(v) Melodic

Types

N o t s u r p r i s i n g l y , m a n y m e l o d i e s i n this large repertory bear a f a m i l y resemblance to e a c h o t h e r , o r m a k e use of s i m i l a r m e l o d i c g e s t u r e s . T h u s t h i r t e e n m e l o d i e s o p e n Gab, o r s o m e v a r i a n t t h e r e o f . S e v e r a l o t h e r m e l o d i e s b e s i d e s L a n d w e h r - M e l n i c k i 55 L a n d w e h r - M e l n i c k i 39 starting 144 ( E x . I I . 17.2) f a l l to E a f t e r t h e G - o p e n i n g (48, V a t . I I , 1 0 2 ) .

( V a t . I ) , f o r e x a m p l e , s o u n d s l i k e a s i m p l i f i e d v e r s i o n of 5 5 ; its C h r i s t e is t h e s a m e as that of 5 5 . A n o t h e r f a m i l y of s h o r t m e l o d i e s has a first p h r a s e e n d i n g o n b, e i t h e r o n Govb, a n d 151, o r , r a t h e r l o n g e r , L a n d w e h r - M e l n i c k i 124 a n d 142. l i k e L a n d w e h r - M e l n i c k i 155 ( E x . I I . 1 7 . 4 ) : L a n d w e h r - M e l n i c k i

(vi) Later

Melodies

F r o m L a n d w e h r - M e l n i c k i ' s c a t a l o g u e it c a n b e s e e n t h a t t h e c o m p o s i t i o n of m e l o d i e s c o n t i n u e d u n a b a t e d i n t o t h e s i x t e e n t h c e n t u r y a n d b e y o n d . M a n y of t h e n e w e r i t e m s b e a r t h e m a r k s of a later a g e : scale passages r u n n i n g t h r o u g h a f i f t h ( u s u a l l y f r o m o r towards the f i n a l ) , b r o k e n c h o r d figures, a n d s u d d e n m o v e s to the u p p e r o c t a v e . A n u m b e r are c o u c h e d i n a s o m e w h a t s e n t i m e n t a l ' F m a j o r ' i d i o m , l i k e t h e p o p u l a r ' D e angelis' m e l o d y ( L a n d w e h r - M e l n i c k i 95, V a t . V I I I , k n o w n m o s t l y f r o m F r e n c h a n d

Italian sources). A m e l o d y of this type f o u n d i n eastern sources ( f r o m Ex. II.17.6.

v

Germany,

S w i t z e r l a n d , A u s t r i a , B o h e m i a , e t c . ) is L a n d w e h r - M e l n i c k i 9 7 , r e p r o d u c e d h e r e i n

E x . 11.17.6. K y r i e 97 (St G a l l , S t i f t s b i b l . 546, f o . 3 8 )

im
Ky-ri - e

____ e-leyson. Christe e-leyson.

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(Kyrie as above, then) Kyri - e e-leyson.

Local

compositions

include even

more

extreme examples

i n t h i s v e i n , as f o r

e x a m p l e L a n d w e h r - M e l n i c k i 139, o n e o f t e n u n i q u e m e l o d i e s i n S t G a l l , S t i f t s b i b l i o t h e k , 5 4 6 , c o m p i l e d at t h e f a m o u s a b b e y b y J o a c h i m C u o n t z i n 1 5 0 7 ( E x . I I . 1 7 . 7 ) . E x . I I . 1 7 . 7 . K y r i e 139 (St G a l l , S t i f t s b i b l . 546, f o . 38 )

r

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11.18.

G L O R I A

I NE X C E L S I S

D E O

(i) I n t r o d u c t i o n (ii) Recitation T y p e s (iii) T h r o u g h - C o m p o s e d M e l o d i e s Bosse 1955; Stablein, ' G l o r i a i n excclsis D e o ' , MGG; C r o c k e r , ' G l o r i a i n excelsis D e o ' , A G ; Boe 1990, Gloria. (i) Introduction

S o m e elements i n t h e text of t h e G l o r i a i n excelsis D e o are very ancient, d a t i n g back to e a r l y C h r i s t i a n t i m e s . L i k e t h e T e D e u m , it is a n o n - b i b l i c a l h y m n o f p r a i s e of irregular construction, an agglomeration of p h r a s e s of d i f f e r e n t d a t e a n d o r i g i n . It Liber s e e m s t o h a v e b e e n p a r t o f t h e office i n t h e e a r l y c e n t u r i e s , b u t a c c o r d i n g t o t h e

pontificalis

it w a s i n t r o d u c e d i n t o m a s s i n R o m e o n S u n d a y s a n d s a i n t s ' f e a s t - d a y s b y Irish

P o p e S y m m a c h u s ( 4 9 8 - 5 1 4 ) . T h e e a r l i e s t s u r v i v i n g v e r s i o n of t h e G l o r i a i n L a t i n is n o o l d e r t h a n t h e s o - c a l l e d ' A n t i p h o n a r y of B a n g o r ' , a late s e v e n t h - c e n t u r y c o l l e c t i o n of t e x t s m a i n l y f o r t h e o f f i c e . V a r i a n t s i n t h e t e x t are s t i l l o c c a s i o n a l l y to b e f o u n d i n s o u r c e s of t h e t e n t h c e n t u r y a n d l a t e r , that i s , i n t h e p e r i o d f r o m w h i c h w e f i r s t h a v e n o t a t e d v e r s i o n s . A l t h o u g h o r i g i n a l l y a c o n g r e g a t i o n a l c h a n t , its e x e c u t i o n w a s l a t e r r e s e r v e d f o r t h e c l e r g y , b e i n g i n t o n e d at t h e start b y t h e p o p e , b i s h o p , o r priest as t h e occasion required. A m o n g the surviving melodies some are easily more s i n g a b l e b y t h e w h o l e c o n g r e g a t i o n , as m o d e r n e x p e r i e n c e p r o v e s . B u t t h e r e is n o w a y of k n o w i n g h o w o l d s u c h m e l o d i e s are. S o m e relatively ornate m e l o d i e s seem like m u s i c for soloists or the t r a i n e d schola. B o s s e ' s c a t a l o g u e l i s t s f i f t y - t w o d i f f e r e n t m e l o d i e s , t o w h i c h a f e w m a y be a d d e d f r o m s o u r c e s n o t a v a i l a b l e t o B o s s e . E i g h t e e n are to b e f o u n d i n t h e m o d e r n V a t i c a n b o o k s . B o s s e a n d S t a b l e i n b o t h s u r v e y t h e d i f f e r e n t t y p e s of m e l o d y so far k n o w n . S o m e are p o t e n t i a l l y q u i t e o l d : t h a t i s , t h e y m a y easily b e i m a g i n e d t o date f r o m t h e p e r i o d of o r a l t r a n s m i s s i o n . O n e t y p e of m e l o d y m a y b e d e s c r i b e d as a h i g h l y o r n a t e recitation, w i t h a constantly reiterated central p i t c h and cadential m e l i s m a s ; another t y p e of m e l o d y c o n s i s t s of t h e c o n s t a n t r e p e t i t i o n of a s i n g l e p h r a s e , adapted some as are r e q u i r e d to v e r s e s of d i f f e r i n g l e n g t h . O t h e r t y p e s m a y b e m o r e r e c e n t :

t h r o u g h - c o m p o s e d , o t h e r s are f r e e l y c o m p o s e d b u t w i t h c o n s t a n t r e s o r t to p a r t i c u l a r m o t i f s , w h i c h s e r v e t o b i n d t h e m u s i c a l f a b r i c t o g e t h e r . It is n o t , of c o u r s e , p o s s i b l e to assign all m e l o d i e s a b s o l u t e l y to a p a r t i c u l a r category.

( i i ) Recitation

Types

O n e set of m e l o d i e s is d o m i n a t e d b y a s i n g l e r e c i t a t i o n n o t e w i t h n e i g h b o u r i n g t o n e s , d e l i v e r e d i n a h i g h l y i n f l e c t e d , e l e v a t e d m a n n e r w h i c h raises t h e m a b o v e t h e l e v e l o f , s a y , t h e i n t r o i t o r c o m m u n i o n p s a l m o d y h e a r d e l s e w h e r e i n t h e m a s s . E n d s of v e r s e s are o f t e n m a r k e d b y c a d e n t i a l The most flourishes. W e c o u l d i m a g i n e the m e l o d i e s i n this s m a l l i n Bosse's catalogue, g r o u p to b e m u s i c f o r t h e c h o i r , o r e v e n f o r s o l o i s t s . important member of t h e g r o u p is G l o r i a 39 s o m e t i m e s r e f e r r e d t o as ' G l o r i a p r i m u s ' o r ' G l o r i a A ' , u n f o r t u n a t e l y n o t i n c l u d e d i n t h e V a t i c a n s e l e c t i o n . It is t h e g r a n d e s t a n d m o s t e x p a n s i v e of G l o r i a s . B o e ( 1 9 8 2 ) has f o u n d a v e r s i o n o f it i n t h e O l d R o m a n E a s t e r V i g i l m a s s . S i n c e it is u s u a l l y f o u n d w i t h trope v e r s e s i t was s u n g m o r e f r e q u e n t l y w i t h tropes t h a n any other m e l o d y it is g i v e n e l s e w h e r e i n f u l l (see E x . 1 1 . 2 3 . 1 5 ) . S u f f i c e it h e r e t o p o i n t o u t its c h i e f f e a t u r e s . T h e m e l o d y has t w o r e c i t a t i o n t o n e s . I n t h e first l i n e a n d o c c a s i o n a l l y l a t e r the recitation is c e n t r e d Ga a), on a (typically i n figures such as Gab a). Somewhat d i s c o n c e r t i n g l y , t h e s e c o n d l i n e a n d m o s t s u b s e q u e n t l i n e s use F f r e q u e n t l y ( i n s u c h p h r a s e s as aGF w i t h bb as u p p e r a u x i l i a r y . T h e m o s t i m p o r t a n t c a d e n t i a l m e l i s m a s are g i v e n i n E x . 1 1 . 1 8 . l a d . T h e f i g u r e g i v e n as E x . 1 1 . 1 8 . l e , w h i c h is also to b e f o u n d at t h e start of t h e v e r s e t o n e f o r m o d e 1 r e s p o n s o r i e s , a p p e a r s f r e q u e n t l y from 'propter magnam' onwards.

Ex.

I I . 18.1.

C a d e n t i a l figures ( a - d ) and intonation figure (e) f r o m G l o r i a 39

e O t h e r e x a m p l e s of t h i s t y p e of m e l o d y m a y be seen i n B o s s e 13 a n d 2 2 ( V a t i c a n a d lib. II a n d I I I ) , c e n t r e d a r o u n d Z ) , o r t h e m e l o d y f o r t h e G r e e k G l o r i a Doxa en ipsistis theo ( H u g l o 1950, ' G l o r i a ' ) . T h e l a t t e r b e g i n s w i t h b as r e c i t i n g n o t e ( b u t e v e n t h o u g h m o s t of t h e m e l o d i c movement

m o r e h e a v i l y o r n a m e n t e d t h a n G l o r i a 39) w i t h G a c as t h e c o m m o n i n t o n a t i o n . A f t e r s e v e r a l l i n e s t h e c a d e n c e s b e g i n to f a l l o n E\ still c o n c e r n s the t e t r a c h o r d B o e 1990, Gloria, G-c.

T h e s i m p l e s t e x a m p l e of t h e t y p e is B o s s e 2, p r o b a b l y a s o u t h I t a l i a n m e l o d y ( e d . 188) b u t g i v e n i n E x . I I . 18.2 f r o m o n e of its f e w n o r t h e r n s o u r c e s Italy the be s e e n at o n c e t h a t p r a c t i c a l l y e v e r y p h r a s e opens w i t h ( p r e s u m a b l y b r o u g h t b a c k to N o r m a n d y a f t e r t h e N o r m a n c o n q u e s t of s o u t h a n d S i c i l y ) . It w i l l

i n t o n a t i o n F G a a n d e n d s a G. A g r e a t d e a l of w h a t h a p p e n s i n b e t w e e n s t a y s w i t h i n the s a m e n a r r o w r a n g e . T h e use of a h i g h e r o p e n i n g f o r ' D o m i n e D e u s ' , ' D o m i n e f i l i ' , a n d ' C u m s a n c t o s p i r i t u ' m a y also be m e n t i o n e d . S i n c e it c o m e s f r o m a p a r t of I t a l y w h e r e m u c h a n c i e n t , n o n - F r a n k i s h m a t e r i a l is p r e s e r v e d , o n e is t e m p t e d to see h e r e o n e of t h e o l d e s t s u r v i v i n g G l o r i a m e l o d i e s . T h e s o u r c e s a r e , h o w e v e r , t o o late i n d a t e to prove any hypothesis conclusively. In its usual northern version, which above under of one c o r r e s p o n d s to V a t i c a n m e l o d y X I , it w a s c a t a l o g u e d b y B o s s e as m e l o d y 5 1 . If s o m e f e a t u r e s r e c a l l t h e s i n g i n g of o f f i c e p s a l m s , o r r e s p o n s o r y v e r s e s , t h e are t o o e l a b o r a t e ( w i t h the e x c e p t i o n of m e l o d y 2) a n d t o o v a r i e d t o s u b s u m e simple psalmody, c o n s i s t i n g of h a r d l y m o r e than the constant repetition m e l o d i e s n e v e r t h e l e s s r e m a i n e s s e n t i a l l y free of a n y s i m p l e , r e p e a t e d f o r m u l a . T h e y p s a l m o d i c p r a c t i c e . T h e r e are, h o w e v e r , s e v e r a l o t h e r m e l o d i e s w h i c h c o m e c l o s e r to m u s i c a l idea or f o r m u l a . T h e b e s t - k n o w n e x a m p l e of t h i s t y p e of m e l o d y is B o s s e 43 ( V a t i c a n X V ) . E a c h v e r s e b e g i n s E G a , r e c i t e s o n a w i t h i n f l e c t i o n s d o w n t o G o r u p to h, a n d c a d e n c e s a G a G E. dcbaG ab aG G. T h i s is f o l l o w e d b y aGEFED. and The their final is quite varied 38 M o r e a d v e n t u r o u s is B o s s e 25 ( V a t i c a n V ) , w i t h m o r e t h a n o n e m u s i c a l i d e a . I n t h e t o p h a l f of t h e r a n g e c o m e s t h e p h r a s e G b cd db a c h i e v e d t h r o u g h t h e p h r a s e D EFG flexibly, to accommodate patterns. the accentuation GFa a p h r a s e w h i c h d e s c e n d s i n t o the l o w e r h a l f of t h e r a n g e : caG varying numbers of

G . E a c h p h r a s e is of c o u r s e t r e a t e d syllables

T h e s e phrases,

although deployed in a fashion

resembling

s i m p l e p s a l m o d y , h a v e n o m u s i c a l r e s e m b l a n c e to p s a l m t o n e s . N o r has B o s s e T h e y are b o t h m u c h l a t e r , a n d m u c h less w i d e l y k n o w n , t h a n B o s s e 4 3 .

( V a t i c a n V I I I ) , the m e l o d y w h i c h makes a m u s i c a l p a i r w i t h the K y r i e 'de angelis'.

18.

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( i i i ) Through-composed

Melodies

T h e m a j o r i t y of G l o r i a m e l o d i e s are t h r o u g h - c o m p o s e d . T h i s d o e s n o t e x c l u d e t h e p o s s i b i l i t y of u s i n g r e c u r r e n t character motifs, w h i c h stamp the m e l o d y w i t h a particular w i t h o u t s u g g e s t i n g t h e t e c h n i q u e of s i m p l e ( o r o r n a t e ) p s a l m o d y . E v e n

w h e n t h e m o t i f s e n c o m p a s s w h o l e p h r a s e s , t h e i r o r d e r is n o t p r e d i c t a b l e i n t h e w a y t h a t t h o s e of B o s s e 25 a r e . F e w m e l o d i e s a c t u a l l y l a c k r e c u r r e n t m o t i f s e n t i r e l y . B o s s e 2 4 ( V a t i c a n a d l i b . I) is a w e l l - k n o w n e x a m p l e . M o r e t y p i c a l is B o s s e 56 ( V a t i c a n I V ) , t h e m o s t p o p u l a r of a l l G l o r i a m e l o d i e s . T h e f i n a l , E, is h e a r d at t h e e n d of p r a c t i c a l l y e v e r y p h r a s e , b u t it is not t r e a t e d as a r e c i t i n g n o t e . A v a r i e t y of m u s i c a l ideas l e a d s i n t o i t , f r o m b e l o w C D E) a n d a b o v e (GE m o t i f (G a c a). Ga GF E)

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the latter sometimes p r e c e d e d b y a h i g h e r - l y i n g

T h e a r t i s t r y of t h e c o m p o s i t i o n lies i n t h e j u d i c i o u s s e l e c t i o n of o n e

m o t i f o r a n o t h e r f o r t h e v a r i o u s v e r s e s of t h e t e x t , b a l a n c i n g h i g h e r a g a i n s t l o w e r , a m p l i f y i n g w h e r e necessary, DFGaGFG E. as w i t h t h e m o r e e x p a n s i v e c a d e n c e h e a r d f o u r t i m e s :

A n o t h e r e x a m p l e of t h i s t y p e of m e l o d y is t h e l i t t l e - k n o w n B o s s e 5 , f o u n d i n E a s t e r n E u r o p e a n s o u r c e s f r o m a r o u n d 1200 o n w a r d s ( E x . I I . 1 8 . 3 ) . T h e r e is n o n e e d to a t t e m p t t o i s o l a t e a l l t h e m o t i f s w h i c h m a k e u p t h e b a s i c m e l o d i c m a t e r i a l ; i n a n y case, s o m e i n s t a n c e s of t h e i r use m i g h t n o d o u b t be felt to b e r a t h e r t h a n d e l i b e r a t e e m p l o y m e n t . T h e m o t i f EDEG A r e these a l l c o n s c i o u s attempts to b i n d the piece E x . I I . 1 8 . 3 . G l o r i a 5 ( M u n i c h , U n i v . - B i b l . 2 156, fo. X
# 0J0

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o c c u r s m a n y t i m e s t h r o u g h o u t , s o m e t i m e s s p l i t to a c c o m m o d a t e d i f f e r e n t s y l l a b l e s . together? 157 )
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It is p e r h a p s m o r e w o r t h w h i l e t o f o l l o w t h e f a l l i n g f i g u r e bcbaG, heard twice i n the second verse, ' E t i n terra

w h i c h is first 'x' i n

pax h o m i n i b u s ' (labelled

E x . I I . 1 8 . 3 ) . T h i s has n o r h e t o r i c a l f u n c t i o n : it m a y start o r e n d a p h r a s e , o r s t a n d i n t h e m i d d l e . A m o n g i t s m a n y a p p e a r a n c e s are s e v e r a l w h e r e i t is p r e c e d e d b y a f a l l a n d i m m e d i a t e r i s e o f a f i f t h : at ' A d o r a m u s t e ' , ' Q u i t o l l i s ' ( t h e s e c o n d o n e ) , a n d ' T u s o l u s d o m i n u s ' ( l a b e l l e d ' y ' ) . T h e l e a p o f a f i f t h m a y b r i d g e t w o d i f f e r e n t p h r a s e s , as at ' d e x t e r a m p a r t r i s / m i s e r e r e ' a n d p e r h a p s also ' p e c c a t a m u n d i / S u s c i p e ' . T h e f i g u r e ' x ' is f r e q u e n t l y s u c c e e d e d b y a rise t o d, as at ' t e r r a p a x ' ( l a b e l l e d ' z ' ) . A n d so o n . G l o r i a s w e r e u s u a l l y s u n g w i t h t r o p e v e r s e s o n h i g h feasts f r o m t h e t e n t h t o t h e t w e l f t h c e n t u r y (see 1 1 . 2 3 . x i ) , b u t b e c a u s e t h e t r o p e v e r s e s w e r e so o f t e n a p p l i e d t o d i f f e r e n t base m e l o d i e s there seems to be n o o v e r w h e l m i n g reason f o r b e l i e v i n g that t r o p e s a n d m e l o d i e s w e r e c o m p o s e d at t h e s a m e t i m e . T h e n u m b e r o f k n o w n m e l o d i e s is o u t n u m b e r e d t w o t o o n e b y t h e sets o f t r o p e v e r s e s . A f t e r G l o r i a t r o p e s f e l l o u t o f use i n t h e t h i r t e e n t h c e n t u r y , o n l y o n e m o d e s t M a r i a n e x a m p l e , Spiritus p o p u l a r i n t h e P a r i s r e g i o n i n t h e s e c o n d h a l f of t h e t w e l f t h c e n t u r y . C o m p o s i t i o n o f n e w m e l o d i e s w a s b y n o m e a n s as v i g o r o u s as f o r o t h e r o r d i n a r y o f m a s s c h a n t s , t h o u g h f r o m B o s s e ' s t a b l e s i t c a n b e seen that a f l u r r y o f a c t i v i t y t o o k place i n the fifteenth c e n t u r y . Several fine melodies still r e m a i n generally u n k n o w n . et alme, held its p l a c e . I t a n d t h e G l o r i a m e l o d y i t e m b e l l i s h e s ( B o s s e 2 3 ) s e e m f i r s t t o h a v e b e c o m e

11.19. (i) T h e O l d e s t M e l o d i e s (ii) O t h e r M e l o d i e s

S A N C T U S

L e v y 1 9 5 8 - 6 3 ; T h a n n a b a u r 1962; T h a n n a b a u r , 'Sanctus', MGG] C r o c k e r , 'Sanctus', NG." (i) The Oldest Melodies

M u c h s p e c u l a t i o n has been occasioned b y the p r o b l e m of d i s t i n g u i s h i n g a possible a n c i e n t m e l o d y , s u c h as m i g h t h a v e b e e n s u n g f r o m e a r l y t i m e s , w h e n t h e S a n c t u s was a c o n g r e g a t i o n a l c h a n t , a m o n g t h e c o m p o s i t i o n s w h i c h have c o m e d o w n to us i n notated manuscripts from the tenth century onward. F o r many years it w a s c o n f i d e n t l y a s s e r t e d t h a t t h e s i m p l e m e l o d y V a t i c a n X V I I I , n o . 41 i n T h a n n a b a u r ' s catalogue, w a s a r e l i c of t h i s e a r l y p e r i o d . T h a n n a b a u r t h e n p o i n t e d o u t t h a t t h e I n fact, in Thannabaur's earliest source, earliest s o u r c e dates f r o m t h e e l e v e n t h c e n t u r y , t h e m e l o d y b e c o m i n g m o r e w i d e l y k n o w n only i n the thirteenth century. Benevento 3 8 , a l l t h e o r d i n a r y - o f - m a s s c h a n t s are o n a d d e d leaves of t h e t w e l f t h T h e next fifteenth-

c e n t u r y ; a n d t h e m e l o d y a p p e a r s t h e r e i n a m o r e e l a b o r a t e v e r s i o n t h a n w a s later t o b e c o m e u s u a l (see M G G , ' S a n c t u s ' , E x . 1 ; t h e e n d i n g s h o u l d r e a d Gaf FG). I t a l i a n s o u r c e dates f r o m t h e t h i r t e e n t h c e n t u r y , a n d t h e rest are p r a c t i c a l l y a l l

c e n t u r y m a n u s c r i p t s . L e v y ( 1 9 5 8 - 6 3 , 27) cites another t w e l f t h - c e n t u r y source f o r t h e

i n c i p i t , at l e a s t , o f t h e e l a b o r a t e v e r s i o n . O n t h e o t h e r h a n d , B o e ( 1 9 8 2 ) has l i n k e d it w i t h other o r d i n a r y chants for the O l d R o m a n Easter V i g i l The t e x t is a c o n t i n u a t i o n o f t h e p r e f a c e , formula. Thannabaur 41, mass. T h i s is n o t t o d e n y t h a t t h e S a n c t u s w a s p r o b a b l y o n c e s u n g to a s i m p l e m e l o d y . w h i c h was s u n g b y the officiant to a XVIII, is hardly more than a recitation Vatican

c o n t i n u a t i o n o f o n e of t h e p r e f a c e t o n e s . A n d t h e p a r t i c i p a t i o n of t h e c o n g r e g a t i o n i n t h e s i n g i n g of t h e S a n c t u s is r e c o r d e d f r e q u e n t l y t h r o u g h o u t t h e M i d d l e A g e s . A t v a r i o u s times a n d places, h o w e v e r , the chant was p e r f o r m e d b y clerics. A n d trained s i n g e r s m u s t a l s o h a v e p l a y e d a p a r t , at least i n t h e s i n g i n g of t r o p e v e r s e s , a n d p e r h a p s a l s o i n t h e e x e c u t i o n of s o m e of. t h e m o r e e l a b o r a t e medieval sources. o r Agios, k n o w n f r o m a g r o u p of t e n t h ordinary-ofLevy melodies k n o w n from

It is t h e r e f o r e s o m e w h a t d i f f i c u l t to i d e n t i f y a p o s s i b l e e a r l y l a y e r of m e l o d i e s . O n e i n t e r e s t i n g c a n d i d a t e is t h e G r e e k S a n c t u s , and eleventh-century manuscripts, usually i n conjunction w i t h other

m a s s c h a n t s w i t h G r e e k t e x t (see t h e list i n A t k i n s o n , 1 9 8 2 , ' M i s s a G r a e c a ' ) .

( 1 9 5 8 - 6 3 ) d i s c o v e r e d a B y z a n t i n e r e l a t i v e of t h i s a n d r e m a r k e d t h a t t h e s a m e b a s i c m u s i c a l i d e a u n d e r l i e s t h e s i n g i n g of t h e w o r d s ' s a n c t u s , s a n c t u s , s a n c t u s ' i n t h e T e D e u m . I n f a c t , L e v y p o i n t e d t o t h e e x i s t e n c e of a l a r g e f a m i l y of m e l o d i e s ( o r b e t t e r , recitation f o r m u l a s ) , b o t h eastern a n d western, w h i c h m a y all have a c o m m o n o r i g i n . W h a t u n i t e s t h e m , t o p u t it i n m o s t g e n e r a l t e r m s , is t h e i r i n s i s t e n c e o n t h e scale s e g m e n t Gab, as t h e b a s i c w i t h c a n d e v e n d as u p p e r o p t i o n s ; E is s o m e t i m e s u s e d to s t a r t a or CDE (see is m o s t p h r a s e , b u t F is a v o i d e d . ( T h e m e l o d i e s are f o u n d i n t r a n s p o s i t i o n w i t h FGa notes.) T h e c o n t i n u o u s o s c i l l a t i o n w i t h i n this n a r r o w range f a m i l i a r to us t h r o u g h the c o m m o n tones f o r the preface S t a b l e i n , ' P r a f a t i o n ' a n d ' P a t e r n o s t e r ' , MGG). (Ex.

and Lord's Prayer

A n d as f a r as o r d i n a r y of m a s s c h a n t s

are c o n c e r n e d , w e h a v e j u s t s e e n e x a m p l e s o f t h i s t y p e of m e l o d y i n I t a l i a n K y r i e s I I . 1 7 . 4 ) a n d G l o r i a s ( E x . I I . 1 8 . 2 ) . E x . I I . 1 9 . 1 g i v e s a v e r s i o n of t h e G r e e k S a n c t u s a n d a n o t h e r I t a l i a n m e l o d y i n t h i s i d i o m . ( C o m p a r e also B o e 1 9 8 2 , E x . 3.)

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T h e m a j o r i t y o f m e l o d i e s i n T h a n n a b a u r ' s c a t a l o g u e are n o t of t h i s t y p e . O v e r 2 3 0 are listed there, a n d o t h e r s are t o b e f o u n d i n s o u r c e s Thannabaur 32 41 49 116 177 202 203 223 Vatican XVII XVIII IV VIII XII XI II XV not accessible to sources Thannabaur. R e l a t i v e l y f e w b e c o m e k n o w n right across E u r o p e : earliest 11th c . 12th c . 11th c . 12th c . 13th c . 12th c . 12/13th c 10th c .

E x . I I . 19.1. G r e e k Sanctus and L a t i n Sanctus 66 ( M o d e n a , B i b l . C a p . O . I. 7, fos. 206 )

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M e l o d y 154 ( V a t i c a n I ) , w i d e l y k n o w n i n F r a n c e a n d I t a l y , is p e r h a p s t h e o n l y o t h e r m e l o d y w h i c h c a n r e a l l y b e c a l l e d p o p u l a r . It f o l l o w s t h a t t h e r e p e r t o r y as a w h o l e is v e r y d i f f u s e , l i k e t h a t of o t h e r o r d i n a r y of m a s s c h a n t s , m o s t m e l o d i e s h a v i n g p u r e l y l o c a l c u r r e n c y . S o m e of the o l d e s t m e l o d i e s are n o t r e p r e s e n t e d i n t h e a b o v e l i s t . I n t h r e e t e n t h - c e n t u r y s o u r c e s , f o r e x a m p l e ( t h e s e a n d s e v e r a l o t h e r of t h e o l d e s t s o u r c e s are n o t c o v e r e d b y T h a n n a b a u r ) , w e find t h e f o l l o w i n g : C a m b r i d g e , C o r p u s C h r i s t i C o l l e g e 473 ( W i n c h e s t e r ) : 1 1 1 , 154, in Thannabaur) St Gall, S t i f t s b i b l i o t h e k 381 153) (St Gall): 154, 216 (plus one not i n T h a n n a b a u r , possibly 155, 2 1 6 , 223 P a r i s , B i b l i o t h e q u e N a t i o n a l e , l a t . 1118 ( A q u i t a i n e ) : 8 9 , 1 1 1 , 2 1 6 , 2 2 3 ( p l u s o n e n o t

L i k e t h e r e p e r t o r i e s of K y r i e s a n d A g n u s , S a n c t u s c o l l e c t i o n s w e r e r a t h e r s m a l l b e f o r e t h e e l e v e n t h c e n t u r y , w h e n a d e l i b e r a t e e f f o r t s e e m s to h a v e b e e n m a d e to p r o v i d e a set of c h a n t s f o r t h e f e s t a l l i t u r g y . A f t e r t h e t w e l f t h c e n t u r y p r o d u c t i o n slackened, u n t i l a n e w peak was reached i n the fifteenth c e n t u r y . M o s t early m e l o d i e s s h o w some relationship between the v a r i o u s verses. T h e t w o s e t t i n g s of ' H o s a n n a i n e x c e l s i s ' are n a t u r a l l y o f t e n t h e s a m e , a n d m a t e r i a l f r o m t h e

f i r s t v e r s e m a y r e a p p e a r l a t e r i n the p i e c e . T h e t h r e e ' S a n c t u s ' a c c l a m a t i o n s o f t e n s t a n d a p a r t , t h o u g h t h e i r m u s i c t o o m a y be r e d e p l o y e d f o r t h e t e x t t h a t f o l l o w s . S a n c t u s 6 8 , t r a n s c r i b e d i n E x . I I . 1 9 . 2 , is a f a i r l y t y p i c a l e x a m p l e . T h e m u s i c f o r t h e first ' S a n c t u s ' r e c u r s at ' P l e n i s u n t ' a n d ' B e n e d i c t u s ' . T h e m o v e m e n t f r o m G to d a n d b a c k a g a i n at ' S a n c t u s d o m i n u s D e u s ' is h e a r d a g a i n d u r i n g ' O s a n n a ' a n d ' q u i v e n i t ' . P e r h a p s t h e s h o r t p h r a s e f o r ' g l o r i a t u a ' is a n e c h o of ' D e u s s a b a o t h ' . m e l o d y g i v e n i n E x . I I . 1 9 . 1 . T h e first ' S a n c t u s ' stays w i t h i n t h e s e g m e n t Gb, The the m e l o d y has a c h a r a c t e r q u i t e d i f f e r e n t f r o m that of t h e G r e e k S a n c t u s a n d the I t a l i a n s e c o n d t o u c h e s <:, a n d t h e n t h e t h i r d rises t o d> a g r a d u a l u n f o l d i n g w h i c h is c a r r i e d o n e s t e p f u r t h e r l a t e r o n i n ' D o m i n i ' . T h e r e are also l i t e r a l r e p e a t s , i n ' s a b a o t h ' a n d the m e l i s m a after ' g l o r i a t u a ' . E x . I I . 19.2. Sanctus 68 ( P a n s , B i b l . N a t . lat. 10508, fo. 123 )
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s o u r c e s , h a s s o m e t h i n g of t h e s a m e c h a r a c t e r , t h o u g h it is cast i n a m o r e m o d e s t v e i n ( E x . I I . 1 9 . 3 ) . T h e t h r e e a c c l a m a t i o n s rise g r a d u a l l y , t h e n ' D e u s s a b a o t h ' e c h o e s the o p e n i n g , a d d i n g t h e s o - c a l l e d ' G a l l i c a n ' c a d e n c e . T h a t c a d e n c e r e c u r s at t h e e n d of e a c h v e r s e . ' P l e n i ' a n d ' B e n e d i c t u s ' t a k e u p the m u s i c of t h e t h i r d ' S a n c t u s ' , b u t the ' O s a n n a ' v e r s e is i n d e p e n d e n t . T w e l f t h - c e n t u r y s o u r c e s s u c h as t h o s e u s e d f o r t h e t r a n s c r i p t i o n s so f a r h a v e the l a r g e s t of a l l c o l l e c t i o n s of S a n c t u s m e l o d i e s , e x c e p t i n g s u c h r e t r o s p e c t i v e a n t h o l o g i e s as S t G a l l 5 4 6 . E x . I I . 19.4 is t a k e n f r o m t h i s m a n u s c r i p t . M o s t of t h e n e w m e l o d i e s of the fifteenth c e n t u r y a n d l a t e r are q u i t e d i f f e r e n t i n c h a r a c t e r f r o m t h o s e s e e n so f a r , figures a n d s i m p l e m e l o d i c r e p e t i t i o n s . T h a n n a b a u r 98 is b u i l t with arpeggiando

a l m o s t e n t i r e l y f r o m t h e m a t e r i a l of t h e s e c o n d a n d t h i r d ' S a n c t u s ' a c c l a m a t i o n . T h e c h a n t i s n o t a t e d m e n s u r a l l y i n S t G a l l 5 4 6 ; each n o r m a l n o t e is t r a n s c r i b e d h e r e as a c r o t c h e t , a d o u b l e p u n c t u m b e c o m e s a m i n i m , a n d the s e m i b r e v i s a q u a v e r .

E x . I I . 1 9 . 3 . Sanctus 216 (Paris, B i b l . N a t . lat. 10508, fo.

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Stablein, ' A g n u s D e i ' , M G G ; S c h i l d b a c h 1967; A t k i n s o n 1977; C r o c k e r , ' A g n u s D e i ' , NG. I n v e s t i g a t i o n of t h e e a r l i e s t m e l o d y o r m e l o d i e s f o r t h e A g n u s D e i r u n s i n t o t h e s a m e p r o b l e m s as f o r t h e o t h e r o r d i n a r y - o f - m a s s c h a n t s . A c c o r d i n g t o t h e Liberpontificalis, S e r g i u s I ( 6 8 7 - 7 0 1 ) i n t r o d u c e d t h e c h a n t i n t o the R o m a n m a s s , as a p i e c e s u n g b y b o t h c l e r g y a n d p e o p l e t o a c c o m p a n y the b r e a k i n g of t h e b r e a d . W h e t h e r o r n o t t h e

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R o m a n u s I ( e a r l y e i g h t h c e n t u r y ) also u n d e r s t a n d s it to be a f r a c t i o n c h a n t , b u t s u n g b y t h e s c h o l a . O r d o R o m a n u s I I I t h e r e l e v a n t p a r t is F r a n k i s h a n d d a t e s f r o m the t h i r d q u a r t e r of t h e e i g h t h c e n t u r y i n d i c a t e s t h a t t h e s i n g i n g c o n t i n u e s u n t i l chants were performed. Shortly after this, however, a number the f r a c t i o n c e r e m o n y is c o m p l e t e d , r a t h e r i n t h e w a y t h e e a r l y i n t r o i t , K y r i e , a n d o t h e r of C a r o l i n g i a n There d o c u m e n t s h a v e t h e c h a n t s u n g d u r i n g t h e k i s s of p e a c e o r c o m m u n i o n i t s e l f . by the entire c o n g r e g a t i o n was a b a n d o n e d . T h e

arose c o n c u r r e n t l y t h e p r a c t i c e of u s i n g p i e c e s of u n l e a v e n e d b r e a d , a n d c o m m u n i o n fraction ceremony d i m i n i s h e d in s i g n i f i c a n c e . T h i s s e e m s to h a v e r e s u l t e d i n a s h i f t i n g of t h e p e r f o r m a n c e of t h e A g n u s t o w a r d s c o m m u n i o n a n d c u r t a i l m e n t of its l e n g t h , r e s t r i c t i n g it to t h e t h r e e p e t i t i o n s w i t h w h i c h w e are f a m i l i a r . T h i s is its f o r m i n t h e earliest e x t a n t d o c u m e n t w h i c h is s p e c i f i c i n s u c h d e t a i l s , t h e A m i e n s s a c r a m e n t a r y P a r i s , B i b l i o t h e q u e N a t i o n a l e , lat. 9432 (ninth century, second half). (Facsimile in Atkinson 1977, 10; Atkinson p r o v i d e s a d e t a i l e d r e v i e w of t h e e v i d e n c e s u m m a r i z e d h e r e . ) T h e earliest m u s i c a l s o u r c e s are s o m e w h a t l a t e r ( t a b l e i n A t k i n s o n , 13), a n d f r o m t h e s e it is c l e a r t h a t o n l y o n e m e l o d y h a d E u r o p e - w i d e c u r r e n c y at a n e a r l y no. 226 i n S c h i l d b a c h ' s catalogue, date, V a t i c a n I I . I f w e are l o o k i n g f o r a h y p o t h e t i c a l

s i m p l e m e l o d y of t h e t y p e w h i c h m i g h t h a v e b e e n s u n g b y t h e c o n g r e g a t i o n , r e p e a t e d as o f t e n as n e c e s s a r y , a c c o r d i n g to t h e o l d e r p r a c t i c e , w e m i g h t d o u b t w h e t h e r t h i s is it, o r at least w h e t h e r it a p p e a r s i n its f o r m e r s t a t e . It has b e e n s u g g e s t e d t h a t t w o s i m p l e r m e l o d i e s m a y be p a r t i c u l a r l y a n c i e n t : S c h i l d b a c h 101 ( V a t i c a n X V I I I ) long been designated the has o l d e s t m e l o d y , p a r t l y b e c a u s e of its s i m p l i c i t y , p a r t l y

b e c a u s e it f o l l o w s e a s i l y f r o m t h e p r e c e d i n g d i a l o g u e ( T a x d o m i n i . . . E t c u m s p i r i t u t u o ' s e e W a g n e r I I I , 4 4 9 ) , p a r t l y b e c a u s e of m u s i c a l i d e n t i t y (the t e x t is d i f f e r e n t ) w i t h t h e ' A g n u s D e i ' s e c t i o n of the l i t a n y of t h e s a i n t s ( S t a b l e i n ; GR S t a b l e i n also d i r e c t e d a t t e n t i o n to t h e 198, LU 838). R o m a n v e r s i o n of t h e m e l o d y (registered Vatican

s e p a r a t e l y b y S c h i l d b a c h as n o . 9 8 ) , w h i c h a p p e a r s i n t w o R o m a n s o u r c e s ,

L i b r a r y , V a t . l a t . 5 3 1 9 a n d A r c h i v i o S a n P i e t r o B . 7 9 . W h e t h e r the m e l o d y is m u c h o l d e r t h a n t h e e a r l i e s t s o u r c e s w h i c h are m u c h later t h a n t h o s e f o r m e l o d y 2 2 6 r e m a i n s o p e n to q u e s t i o n . T h e o l d e s t R o m a n s o u r c e , B o d m e r C . 7 4 , has a n o t h e r r e l a t i v e l y s i m p l e m e l o d y w h i c h b e l o n g s to t h e I t a l i a n t y p e of c h a n t d i s c u s s e d a b o v e i n c o n n e c t i o n w i t h the K y r i e , G l o r i a , a n d S a n c t u s . A s B o e ( 1 9 8 2 ) has s h o w n , it b e l o n g e d to t h e O l d R o m a n E a s t e r V i g i l m a s s . E x . 11.20.1 g i v e s t h i s m e l o d y (not i n S c h i l d b a c h ) , a n d m e l o d y 2 2 6 . T h e g r e a t e r r a n g e a n d v a r i e t y of the l a t t e r are o b v i o u s . Many A g n u s melodies may be c o m p a r e d w i t h K y r i e s i n that they suggest a t r i p a r t i t e f o r m . F o r t h e a b o v e e x a m p l e s o n l y o n e v e r s e is c o p i e d o u t , to b e s u n g t h r e e times. O t h e r melodies m a y have a contrasting central verse, g i v i n g an A B A f o r m , or e v e n t h r e e d i f f e r e n t verses ( f o r e x a m p l e , V a t i c a n X I , S c h i l d b a c h 2 2 0 ) . Furthermore, verse. t h e r e is o f t e n a s i m i l a r i t y of r a n g e f o r ' A g n u s D e i ' a n d ' m i s e r e r e n o b i s ' , w h e r e a s ' q u i t o l l i s p e c c a t a m u n d i ' w i l l rise t o a h i g h e r l e v e l , g i v i n g a n A B A s h a p e to t h e T h u s V a t i c a n X V I I , S c h i l d b a c h 34, has t h e o v e r a l l f o r m A B A A ' B A A B A , t h e o n l y

E x . 11.20.1. O l d R o m a n A g n u s ( C o l o g n y , B i b l . B o d m e r i a n a C . 74, fo. 1 2 5 ) ; A g n u s 226 (Paris, B i b l . N a t . lat. 1119, fo. 249 )

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b e i n g the l o w e r start.

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s y m m e t r y is a f e a t u r e of t h e l a t e r r a t h e r t h a n e a r l i e r r e p e r t o r y (the e a r l i e s t s o u r c e s f o r m e l o d y 3 4 are of t h e t h i r t e e n t h c e n t u r y ) . A m o n g t h e c o n s i d e r a b l e v a r i a n t s o f t e n f o u n d b e t w e e n s o u r c e s m a n y a f f e c t t h e f o r m of t h e p i e c e . T h u s w h i l e m a n y s o u r c e s h a v e b u t a s i n g l e verse of m e l o d y 2 2 6 (as i n E x . 1 1 . 2 0 . 1 ) , m a n y h a v e a c o n t r a s t i n g s e c o n d v e r s e , m o s t w i t h t h e o n e p u b l i s h e d as V a t i c a n I I , o t h e r s w i t h t h a t of V a t i c a n X V I and X V . T h e best k n o w n melodies w e r e : Schildbach 34 101 114 136 164 209 220 O f these, 34, XVIII IX IV XVI X V II t r i a d . S u c h A g n u s m e l o d i e s are n o t u n c o m m o n , a n d Vatican X V I I (less w e l l k n o w n i n F r a n c e a n d E n g l a n d )

114, a n d 136 are r e l a t i v e l y late F - m o d e m e l o d i e s , w i t h a p a r t i c u l a r l y

clear d e l i n e a t i o n of the Fac

b e c a u s e o f t h i s p r e f e r e n c e t h e m o d a l ' p r o f i l e ' of t h e r e p e r t o r y is d i f f e r e n t f r o m that of K y r i e s a n d S a n c t u s . T h e r o u g h p e r c e n t a g e s g i v e n h e r e are d e r i v e d f r o m t h e t a b l e s of Landwehr-Melnicki, Thannabaur, and Schildbach. (The Some m e l o d i e s are n a t u r a l l y f o u n d i n d i f f e r e n t m o d e s figures of c o u r s e v a r y f r o m and area to a r e a a n d c e n t u r y to c e n t u r y , as t h e c o m m e n t a r y b y t h o s e t h r e e a u t h o r s s h o w s . i n different sources, t r a n s p o s i t i o n s b e t w e e n G - m o d e , C - m o d e , a n d F - m o d e w i t h B b are c o m m o n . T h e s e are i g n o r e d h e r e . ) D Kyrie Sanctus Agnus a few fifteenthand sixteenth-century 30 31 36 E 17 20 19 F 21 23 27 G 31 26 19

A s a n e x t r e m e e x a m p l e i n t h e F - m o d e v e i n , E x . I I . 2 0 . 2 g i v e s m e l o d y 144, f o u n d i n sources. T h e mensural notation indicates a

168

//. Chant

Genres
v

E x . I I . 2 0 . 2 . A g n u s 144 (St G a l l , S t i f t s b i b l . 546, fo. 76 )

flJ . 1 r
Ag-nus De -

ii
i qui tollis peccata mun-di mise-re-re do-na

tollis peccata

mun-di

mise-re-re

-bis.

(repeat first Agnus, with 'dona nobis pacem')

g e n t l e , r o c k i n g r h y t h m . T h e first verse ( r e p e a t e d f o r t h e t h i r d ) has a n A B A f o r m , t h e s e c o n d b e g i n s d i f f e r e n t l y , s o m e w h a t u n s u b t l y t a k i n g u p t h e m u s i c of ' D e i q u i t o l l i s ' , b u t t h e n r e j o i n s t h e m u s i c of t h e f i r s t . F o r s o m e m e l o d i e s t h e e a r l i e s t s o u r c e s n e a r l y a l l h a v e t r o p e v e r s e s . T h a t is t h e case, f o r e x a m p l e , w i t h m e l o d y 2 2 6 . F o l l o w i n g C r o c k e r ' s p r o m p t i n g , o n e w o n d e r s if s o m e m e l o d i e s m i g h t n o t h a v e b e e n c o n c e i v e d f r o m t h e first w i t h t r o p e v e r s e s . T h e case is d i f f e r e n t f r o m t h a t of t h e K y r i e , h o w e v e r ; f o r t h e A g n u s t h e r e is n o p r e v i o u s r e c o r d of s i n g i n g e x t r a v e r s e s , s i m p l y of r e p e a t i n g t h e s a m e t e x t o v e r a n d o v e r a g a i n . A t k i n s o n has d e m o n s t r a t e d t h a t f o r m e l o d y 2 2 6 , additions. T h e t e x t i t s e l f u n d e r w e n t a s m a l l c h a n g e a f t e r a b o u t t h e t u r n of t h e millenium, w h e n t h e t h i r d verse ' A g n u s D e i . . . d o n a n o b i s p a c e m ' b e g i n s to a p p e a r . A n o t h e r c o m m o n v a r i a n t i n t h e e a r l y s o u r c e s , p a r t i c u l a r l y i n c o n j u n c t i o n w i t h m e l o d y 164, is t h e s e c o n d verse ' Q u i sedes a d d e x t e r a m p a t r i s m i s e r e r e n o b i s ' , w h i c h s e e m s t o b e a s i m p l e variant rather than an inserted trope verse. at least, t h e t r o p e s are m o s t p r o b a b l y l a t e r

11.21. H u g l o 1951; Stablein, ' C r e d o ' , MGG;

C R E D O

M i a z g a 1976; C r o c k e r , ' C r e d o ' , A G .

T h r e e d i f f e r e n t C r e d o texts were k n o w n i n the M i d d l e A g e s . T h e A p o s t l e s ' C r e e d ( ' C r e d o i n D e u m p a t r e m o m n i p o t e n t e m c r e a t o r e m c a e l i et t e r r a e ' ) w a s o f t e n s a i d as p a r t of t h e p r e p a r a t o r y p r a y e r s b e f o r e t h e s e r v i c e s of t h e o f f i c e . T h e o n l y k n o w n m u s i c a l s e t t i n g s are f a r s e d o n e s f r o m s p e c i a l f e s t a l l i t u r g i e s (see E x . 1 1 . 2 3 . 1 9 b e l o w ) . C u r i o u s l y , h o w e v e r , a m o n g t h e G r e e k o r d i n a r y - o f - m a s s c h a n t s w h i c h are n o t a t e d i n a n u m b e r of e a r l y s o u r c e s (see V I I I . 2 . v ) is a G r e e k c r e e d , a n d t h i s is t h e A p o s t l e s ' L i k e w i s e u n k n o w n i n any C r e e d . N o s o u r c e w i t h d i a s t e m a t i c n o t a t i o n is k n o w n .

n o t a t e d s o u r c e is t h e A t h a n a s i a n C r e e d ( ' Q u i c u m q u e v u l t s a l v u s esse'), s a i d at P r i m e . T h e N i c e n e C r e e d ( ' C r e d o i n u n u m D e u m p a t r e m o m n i p o t e n t e m f a c t o r e m c a e l i et

t e r r a e ' ) is so c a l l e d b e c a u s e it is s u p p o s e d to s u m u p t h e d o c t r i n a l b e l i e f s e s t a b l i s h e d at the Council of N i c a e a (325), t h o u g h it w a s f o r m u l a t e d s o m e w h a t later. It was be o r i g i n a l l y p a r t of t h e b a p t i s m a l r i t e , t h e p r o f e s s i o n of f a i t h of t h o s e a b o u t to

b a p t i z e d . E v e n t u a l l y it w a s t a k e n u p i n t h e m a s s , a n d is first f o u n d t h e r e i n a L a t i n l i t u r g y i n S p a i n ( C o u n c i l of T o l e d o , 5 8 9 ) . It a c h i e v e d a n o f f i c i a l p l a c e ( s u n g after t h e g o s p e l ) i n t h e F r a n k i s h - R o m a n l i t u r g y i n a v e r s i o n b y P a u l i n u s of A q u i l e i a ( C o u n c i l of A a c h e n , 7 9 8 ) . It d i d n o t , h o w e v e r , b e c o m e p a r t of t h e l i t u r g y i n R o m e itself u n t i l text. 1014, at t h e r e q u e s t of t h e G e r m a n e m p e r o r H e n r y I I , a n d t h e n o n l y f o r S u n d a y s a n d those feast-days a c t u a l l y referred to i n the F r o m t h e d i f f e r i n g a c c o u n t s a n d c o m m e n t a r i e s o n t h e l i t u r g y it s e e m s t h a t i n t h e e a r l y M i d d l e A g e s it w a s s o m e t i m e s r e c i t e d b y t h e c o n g r e g a t i o n , s o m e t i m e s s u n g b y the c l e r g y . N o t a t e d versions do not s u r v i v e f r o m before the eleventh c e n t u r y , a n d t h e s e are q u i t e s i m p l e , e i t h e r t h e s y l l a b i c c h a n t k n o w n as V a t i c a n I o r v a r i a n t s of i t . It w a s r a r e l y c o p i e d w i t h o t h e r o r d i n a r y - o f - m a s s c h a n t s u n t i l t h e late M i d d l e A g e s . It w a s n o t u s u a l l y t r o p e d , t h o u g h f a r s e d v e r s i o n s are k n o w n f r o m t h e festal l i t u r g i e s of Laon, Sens, and Beauvais. Only much later, p a r t i c u l a r l y f r o m the seventeenth c e n t u r y o n w a r d , were alternative m u s i c a l settings c o m p o s e d i n large n u m b e r s ( m a n y catalogued by M i a z g a ) . V a t i c a n I is b u i l t a r o u n d t w o p h r a s e s , o n e l o w e r i n r a n g e , r i s i n g at t h e end EGa, other higher i n range, stretched or contracted w i t h bb (c i n eastern sources), e n d i n g aGEG. These first f r e e l y as t h e verses of the t e x t r e q u i r e . O f t e n t h e the are is

p r e c e d e d b y a s u p p l e m e n t a r y p h r a s e w i t h t h e b a s i c s h a p e EEGEE, m a y be s u c c e e d e d b y a n o t h e r w i t h t h e s h a p e EEGEaG. verses,

a n d the second

G p l a y s t h e p a r t of r e c i t i n g Recitation-type repertories

n o t e , t h o u g h r e c i t a t i o n is of s e c o n d a r y i m p o r t a n c e i n a c c o m m o d a t i n g t h e l e n g t h i e r a n d t h e e f f e c t is d i f f e r e n t f r o m t h a t of s i m p l e p s a l m o d y . 123, P a l M u s 6, 316). m e l o d i e s m a y , h o w e v e r , be f o u n d i n the H i s p a n i c a n d M i l a n e s e chant ( R o j o a n d P r a d o 1929,

H u g l o ( 1 9 5 1 ) has s u g g e s t e d a B y z a n t i n e l i n k w i t h m e l o d y V a t i c a n I, t h o u g h t h e r e l a t i o n s h i p m u s t h a v e s u r v i v e d m a n y c e n t u r i e s of u n r e c o r d e d t r a n s m i s s i o n . V a t i c a n I I , V , a n d V I use v a r i a n t s of t h e s a m e t y p i c a l p h r a s e s as V a t i c a n I . A n d S t a b l e i n h a s p o i n t e d out that a f u r t h e r m e l o d y i n an A q u i t a n i a n source belongs to this g r o u p . T h i s m e l o d y , r e p r o d u c e d h e r e as E x . 1 1 . 2 1 . 1 , has t h e o p e n i n g w o r d i n its p l u r a l f o r m ' C r e d i m u s ' (as d o e s V a t i c a n V I i n i t s o r i g i n a l f o r m i n P a r i s , B i b l i o t h e q u e N a t i o n a l e , lat. 8 8 7 ) . It is c o p i e d i n t h e m a s s f o r W h i t S u n d a y . T h e r e are n u m e r o u s v a r i a n t s i n t h e t e x t f r o m t h e s t a n d a r d f o r m . T h e m u s i c s e e m s to c o m b i n e f o r m u l a s f o r o p e n i n g s a n d c a d e n c e s f a i r l y f r e e l y , w i t h r e c i t a t i o n o n b o t h G a n d a. M a n y v e r s e s s i m p l y b e g i n o n G , b u t t h e r e is o n e p o p u l a r o p e n i n g g e s t u r e
< >

(marked 'a' o n the transcription) a n d another used o n l y twice ( b ). T h e t w o chief c a d e n c e s h a v e t h e s k e l e t o n aEaG c a d e n c e figure GaGEE (V) a n d aEGE (V) respectively, and a third ('y') is also s o m e t i m e s u s e d . T h e s i m i l a r i t y to V a t i c a n I lies i n
y

the t o n a l i t y , p a r t i c u l a r l y i n t h e d o m i n a n t r o l e of E Vatican II.

G , and a

i n the syllabic w o r d -

s e t t i n g , a n d i n t h e s i m i l a r i t y of s o m e m o t i f s . T h e r e s e m b l a n c e is i n fact o f t e n c l o s e r t o

170

//. Chant

Genres
v

E x . 11.21.1. C r e d o ( P a n s , B i b l . N a t . lat. 776, fo. 92 )

Credimus in u-num De-um

patrem om-nipo-tentem

factorem

caeli et Ik

terrae

k
9 9 9

m *

*-

m *

uisibilium homnium

et

inuisi-bi-li -um conditorem

et in unum dominum Ihesum Christum

filium D e - i uni-genitum

ex patre natum ante omni-a secula <r

Deum uerum x

.
de D e - o uero 9

patris per quern omni-a facta sunt

genitum non factum homo-u-si-o

qui propter nos et propter nostram salutem descendit Z Z

et incarna - tus est de spiritu sancto & , 3 C

~*0
9 0 0

Natus ex M a r i - a uirgine homo factus

passus est sub Ponti-o

c r u c i - f i - x u s mortu-us

et sepultus

t e r c i - a di-e surre-xit

Ascendit ad caelos

sedet ad dexteram

X,

patris

in-de uenturus in g l o - r i - a

iudica-re uiuos et mortuos

cuius regni non erit

finis

et in spiritum sanctum dominum et uiuificantem

ex patre et f i - l i - o
*

procedentem
7k

'

" m

9*

cum patre et f i - l i - o a-dorandum

et conglorificandum

qui locutus est per prophetas

et unam sanctam catholicam atque apostolicam aecclesi-am

confitemur unum baptisma

in remissionem peccatorum

expectemus resurrectionem mortuorum uitam futuri seculi Amen.

T h e o t h e r C r e d o s of t h e V a t i c a n s e l e c t i o n are a m i x e d b u n c h . V a t i c a n V I I is f r o m t h e S e n s C i r c u m c i s i o n o f f i c e , s t r i p p e d of i t s farse v e r s e s . V a t i c a n I I I i s a t r i a d i c F m o d e m e l o d y of the fifteenth-century, i n a vein w h i c h matches the K y r i e 'de A n g e l i s ' . V a t i c a n I V , k n o w n as t h e ' C r e d o c a r d i n a l i s ' , is of s i m i l a r a g e ; it is f r e q u e n t l y f o u n d w i t h m e n s u r a l n o t a t i o n (see T a c k 1 9 6 0 , 5 0 ) . The V a t i c a n selection gives n o h i n t o f t h e vast numbers of C r e d o melodies c o m p o s e d p a r t i c u l a r l y f r o m the seventeenth c e n t u r y o n w a r d s . M i a z g a ' s catalogue lists o v e r 5 0 0 v a r i a n t s of t h e V a t i c a n I m e l o d y , a n d o v e r 7 0 0 o t h e r m e l o d i e s . H i s figures f o r the different centuries becomes record 57 f o r t h e evident), fifteenth 44 for century the (the first when new for the composition see strikingly sixteenth, 110

s e v e n t e e n t h , a n d n o less t h a n 4 2 4 f o r t h e e i g h t e e n t h c e n t u r y ! It is n o t y e t p o s s i b l e t o this enormous p r o d u c t i o n i n a proper perspective, is s t i l l p o o r l y k n o w n . for the w h o l e history of of t h e o t h e r p l a i n c h a n t i n these centuries T h e catalogues

o r d i n a r y of m a s s c h a n t s c o n c e n t r a t e a l m o s t e x c l u s i v e l y o n t h e m e d i e v a l p e r i o d , a n d t h e n u m b e r s o f m e l o d i e s t h e y r e g i s t e r are n o t c o m p a r a b l e . M i a z g a ' s r e s e a r c h h a s a l s o concentrated o n eastern E u r o p e a n , particularly P o l i s h , a n d Italian sources, a n d m u c h r e m a i n s t o b e d o n e f o r o t h e r l a n d s . F o r F r a n c e , f o r e x a m p l e , t h e Cinq plainchant messes en ( 1 6 6 9 ) o f H e n r y D u M o n t ( 1 6 1 0 - 8 4 ) are r e l a t i v e l y w e l l k n o w n , being

s u n g i n F r a n c e u n t i l t h i s c e n t u r y . L e s s w e l l k n o w n is a s i m i l a r m a s s b y L u l l y , s t i l l i n use i n t h e n i n e t e e n t h c e n t u r y , of w h i c h a n e x t r a c t is g i v e n h e r e f r o m t h e g r a d u a l p r i n t e d u n d e r t h e aegis of t h e e c c l e s i a s t i c a l c o m m i s s i o n of D i g n e ( E x . 1 1 . 2 1 . 2 ) . T h e w o r d - p a i n t i n g at ' d e s c e n d i t ' a n d ' a s c e n d i t ' w i l l n o t pass u n n o t i c e d .

E x . I I . 2 1 . 2 . F r o m C r e d o by L u l l y (Graduel

romain,

Marseilles, 1872, p . 116*)

^
Qui propter nos homines,

'

u^
9

et propter nostram salutem

descen - dit de coe-lis.

i l - - .
Et incarnatus est

ex Maria Virgine: E T H O M O F A C T U S EST.

de Spiritu Sancto

Crucifixus etiam pro nobis:

sub Pontio Pilato passus, et sepultus est.

Et resurrexit tertia

di-e,

secundum Scripturas.

Et ascendit in coelum:

sedet ad dexteram

Pa-tris.

11.22. (i) (ii) (iii) (iv)

S E Q U E N C E S

Introduction E a r l y Sequences w i t h Parallel-Verse S t r u c t u r e N o t a t i o n ; P e r f o r m a n c e ; Partially T e x t e d M e l o d i e s Short A p a r a l l e l Sequences

(v) Italian Sequences (vi) T h e E a r l y H i s t o r y of the Sequence (vii) T h e R h y m e d Sequence S t a b l e i n , 'Sequenz', MGG; Facsimiles: Editions: C r o c k e r 1973; C r o c k e r 1977; C r o c k e r , 'Sequence', NG.

M M S 1, 3, 4; P a l M u s 15, 18; V e c c h i , 1955. Misset and A u b r y 1900; D r i n k w e l d e r 1914; M o b e r g 1927; A n s e l m H u g h e s 1968.

1934; de G o e d e 1965; Eggen (i) Introduction

T h e o r i g i n s of t h e s e q u e n c e are so m u c h d i s p u t e d t h a t I h a v e c h o s e n to p r e s e n t first a n a c c o u n t of t h e s e q u e n c e s w h i c h a p p e a r i n b o o k s of t h e n i n t h to e l e v e n t h c e n t u r i e s , t h e ' f i r s t e p o c h ' of s e q u e n c e - w r i t i n g . T h e e v i d e n c e a b o u t t h e e a r l y h i s t o r y of t h e s e q u e n c e is r e v i e w e d i n s e c t i o n v i b e l o w . S e q u e n c e s w e r e s u n g at least f r o m t h e n i n t h c e n t u r y o n w a r d after t h e a l l e l u i a at m a s s o n f e a s t - d a y s ( s o m e t i m e s also e l s e w h e r e i n t h e l i t u r g y , f o r e x a m p l e as a s u b s t i t u t e f o r the Vespers hymn). W h i l e a n a l l e l u i a at a less i m p o r t a n t c e r e m o n y would be later p e r f o r m e d a l l e l u i a v e r s e a l l e l u i a , o n a h i g h feast t h e p a t t e r n w o u l d b e a l l e l u i a versesequence. (See, f o r e x a m p l e , the r u b r i c s i n s o m e S a r u m b o o k s of t h e M i d d l e A g e s : D i c k i n s o n 1861-83, cols. 9 - 1 0 . , ) M o s t s e q u e n c e s w e r e c o n s t r u c t e d i n p a i r e d v e r s i c l e s , e a c h l i n e of m u s i c s u n g t w i c e to d i f f e r e n t w o r d s . ( I n s o m e s e q u e n c e s n o t a l l v e r s i c l e s are p a i r e d . ) S o m e pieces, w h i c h m a y be c a l l e d s e q u e n c e s b e c a u s e of t h e i r l i t u r g i c a l f u n c t i o n ( t h e y f o l l o w t h e a l l e l u i a at m a s s o n f e a s t - d a y s ) , are m u c h s h o r t e r a n d are n o t c o n s t r u c t e d i n p a r a l l e l versicles (section i v ) . T h e e a r l y s o u r c e s of s e q u e n c e s are v e r y d i s p a r a t e i n b o t h c h a r a c t e r a n d c o n t e n t s . T h e d i s c u s s i o n of t h e e a r l y o r ' f i r s t - e p o c h ' s e q u e n c e b e l o w is r e s t r i c t e d to a f e w of t h e c o m p o s i t i o n s w h i c h b e l o n g to t h e p e r i o d u p to a b o u t 1 0 0 0 . A b o u t 150 m e l o d i e s w e r e u s e d i n d i f f e r e n t p a r t s of E u r o p e u p to t h i s t i m e . M a n y of t h e m s e e m t o h a v e b e e n l o c a l c o m p o s i t i o n s w h i c h d i d not t r a v e l o u t s i d e a p a r t i c u l a r a r e a . T h e number of m e l o d i e s k n o w n ' i n t e r n a t i o n a l l y ' , that is i n b o t h w e s t a n d east F r a n c i a , is s m a l l , o n l y about t h i r t y . S i n c e most m e l o d i e s were s u n g w i t h d i f f e r e n t texts i n the d i f f e r e n t areas, t h e n u m b e r of t e x t s k n o w n i n t e r n a t i o n a l l y i n t h e t e n t h c e n t u r y w a s p r a c t i c a l l y n i l , t h o u g h t h e t o t a l n u m b e r of t e x t s w a s a l r e a d y q u i t e c o n s i d e r a b l e . L i t t l e is k n o w n a b o u t t h e e a r l y stages of t h e I t a l i a n s e q u e n c e t r a d i t i o n , b u t it s e e m s as if t h e n o t i o n t h e r e of w h a t c o n s t i t u t e d a s e q u e n c e w a s r a t h e r d i f f e r e n t f r o m t h a t

p r e v a l e n t i n t h e n o r t h . I t a l i a n c o m p o s i t i o n s are t r e a t e d b r i e f l y i n a separate below (v).

section

I have used t h e t e r m 'sequence' to refer to t h e genre i n general, w i t h o r w i t h o u t text. If I have w a n t e d to be specific, I have referred to 'sequence texts'. O t h e r w r i t e r s (see H u s m a n n 1 9 5 4 , ' S e q u e n z melodies' and have 'sequence u n d Prosa')

p r e f e r r e d t o r e s e r v e t h e w o r d ' s e q u e n c e ' f o r the m e l o d y a l o n e , c a l l i n g t h e t e x t ' p r o s e ' . A l t h o u g h t h i s c o r r e s p o n d s t o t h e p r a c t i c e o f s o m e m e d i e v a l m a n u s c r i p t s , it w a s n o t a u n i v e r s a l c u s t o m . ( I k n o w o f n o w i t n e s s e a r l i e r t h a n the s e v e n t e e n t h c e n t u r y t o t h e use of t h e w o r d sequela f o r a s e q u e n c e m e l o d y : see G a u t i e r 1886, 14.)

( i i ) Early

Sequences

with Parallel-Verse

Structure

S o m e c h a r a c t e r i s t i c s t y p i c a l of m a n y larger s e q u e n c e s o f the early p e r i o d are e x e m p l i f i e d i n E x . 11.22.1. T h i s s e q u e n c e is r e g u l a r i n s t r u c t u r e , i n t h a t its verses are a l l p a i r e d . A s i n s e v e r a l o t h e r s e q u e n c e s , o n e of t h e v e r s e s has w i t h i n itself a n A A B s t r u c t u r e : v e r s e 6 , Virginum O regina. A g a i n like several other sequences, there is a distinctive change of register part w a y t h r o u g h the p i e c e : verse 1 m o v e s between E a n d c , verse 2 pushes a l i t t l e h i g h e r t o d, c o n s o l i d a t e d i n v e r s e 3 . T h e n i n verse 4 t h e c a d e n c e is m a d e o n d i t s e l f , w h i c h p r o v i d e s a b a s e f o r a n o t h e r m o v e , u p t o h i g h g i n v e r s e 6. V e r s e 7 r e t u r n s t o t h e r e g i s t e r o f v e r s e 5 (a-f), b e f o r e t h e f i n a l s t r i n g of verses i n t h e h i g h e s t r e g i s t e r . It i s w o r t h t a k i n g n o t e o f t h e n e u m a t i c n o t a t i o n o f t h e m e l o d y . F r o m t h e t e x t a l o n e it i s c l e a r t h a t i n t h e p a i r e d v e r s i c l e s t w o - s y l l a b l e w o r d s are v e r y o f t e n m a t c h e d w i t h two-syllable w o r d s i n the parallel versicle, three-syllable w o r d s w i t h three-syllable, a n d so o n . T h e n o t e - g r o u p i n g s o f t h e m e l o d y w h e n it i s n o t a t e d w i t h o u t its text ( t h i s is t h e u s u a l p r a c t i c e i n e a r l y s e q u e n c e Reichert Claris Eia 1949 a n d S c h l a g e r vocibus c o l l e c t i o n s , b u t it d i e d o u t i n t h e t w e l f t h each c e n t u r y ) also r e f l e c t t h e s y l l a b l e g r o u p s . ( O n t h i s o f t - d i s c u s s e d p h e n o m e n o n see 1 9 8 0 . ) E x . I I . 2 2 . 2 s h o w s verses 2 a n d 3 w i t h c o m p o u n d n e u m e a n d its c o r r e s p o n d i n g text. i s t h e m o s t w i d e s p r e a d ' w e s t e r n ' text f o r t h e m e l o d y o f E x . 11.22.1; the b e s t - k n o w n ' e a s t e r n ' o n e . A l t h o u g h vocibus, the two are h a s n o v e r s e c o r r e s p o n d i n g t o verse 9 o f Claris E x . 11.22.3 g i v e s t h e start o f Eia recolamus, recolamus

r e m a r k a b l y c l o s e i n m a t t e r s o f n o t e - a n d s y l l a b l e - g r o u p i n g s , as c a n b e seen f r o m verses 2 a n d 3 o n c e a g a i n . Eia recolamus has a n ' e x t r a ' first v e r s e ( l a b e l l e d ' A ' ) , w h i c h vocibus. T h i s is a characteristic texts t h e c o r r e s p o n d i n g ' A l l e l u i a ' p r e c e d i n g Claris

difference between western a n d eastern practice. T h e w o r d 'alleluia' contains t w o i n s t a n c e s o f w h a t i s k n o w n as l i q u e s c e n c e , w h e r e a s p e c i a l n o t a t i o n a l s i g n i n d i c a t e s a s p e c i a l m a n n e r o f p e r f o r m a n c e o f t h e first / a n d t h e i. E x a c t l y s i m i l a r p r o v i s i o n i s m a d e i n t h e n e w t e x t , f o r / i n ' E i a ' a n d gn i n ' d i g n a ' . W h i l e t h e c o r r e s p o n d e n c e b e t w e e n t h e w e s t e r n Claris recolamus canamus vocibus a n d t h e e a s t e r n Eia Organicis i n note- a n d s y l l a b l e - g r o u p i n g s is close, this is not true for all the m e l o d i e s a n d t h e e a s t e r n Sancti baptiste ( t h e text i s a t t r i b u t e d t o N o t k e r B a l b u l u s o f

k n o w n i n b o t h parts of n o r t h e r n E u r o p e . E x x . I I . 2 2 . 4 - 5 give the western

St G a l l ) , f o r t h e m e l o d y l a b e l l e d ' J u s t u s u t p a l m a ' i n s o m e e a r l y m a n u s c r i p t s . I n o r d e r

E x . 11.22.1. Sequence Clan's vocibus ( O x f o r d , B o d l . L i b . B o d l e y 775, fos. 122 , 141' L o n d o n , B r i t . L i b . Egerton 3759, fo. 73 )
v v

G*
Alle-

<* **

'

- l u - ia.

Claris uo-ci-bus i n - c l i - t a V o - c i mens bene conso-na

ca-ne turma sacra m e - l o - d i - mata. sonent uerbis pneumata concordi - a.

D i - u i - n a robus-to tetrachor-da plectro docta manus p e - r i - t e fa-ci-at. Resul-tet uirtu-tum p i - a li - ra D e - o sonans nunc dramata dulcis-so-na.

Ast a r - m o - n i - a hec di-ui-na Mixta, cas-titas est quas intra

so - no-re uir-tutum l i - q u i - d i s - s i - m a . in se-de lo - c a - t a mixto li - di-ca.

Cuius in te consis-to-ri - a Que mater es in-ui - o - l a - t a

sunt i m m u - t a - b i - li - a. uir-goque p u - e r - p e - r a .

I d - c i r - c o t u - a De-um fu-e - re digna fer-re u i s c e - r a . Quern nunc c e l i - c a necne t e r r e - a cuncta laudunt s p a t i - a .

Virgi-num O r e - g i - n a te ca - nimus M a - r i - a T u sa-lus orbis al - ma tu ce - li por-ta facta

per quam fulsere cla-ra mundo lu - mi - na. per te se-cu-lo ui - ta omni d e - d i - t a .

C e - l i - c i s terre-a tu iungis di - ui-nis hu-ma-na. Pa - r a - d i - s i - a - c a per te nobis pa-tet ia - nu - a.

-9-

A d e s - t o f a - m u - l i s p i - i s - s i - ma Au-di f i - d e - l i - a preca-mi-na . _ , 4
m #

i n - f l u - a iam suspendens prece peri-cu - la. in-pe-tratam ce-li-tus de-ferans u e - n i - a m .

Ut qui-e-tem nobis temporum i n - c l i t a m . Hac in u i - t a nostra d i - r i - g e o - p e - r a .

Post f u - n e - r a u-ra - n i - a nos due ad h a - b i - t a - c u - l a . Quo l e - t e m u r omnes u-na tecum per cuncta s e - c u - l a .

Exulanient nunc omnigena

a-men redempta.

22. Ex. 11.22.2. F r o m sequence Claris A

robusto uirtutum

Sequences
v

175 141 )
r

vocibus ( O x f o r d , B o d l . L i b . B o d l e y 775, fos. 122 ,

Ji
2 Diuina Resultet

M.

M .

fi
plectro Deo

fi
docta sonans

I\

tetrachorda pia lira

manus perite faciat. nunc dramata dulcissona.

r
3

^
hec diuina est quas intra

f
sonore in sede

y
uirtutum locata

fl

r
liquidissima. mixto lidica.

Ast armonia Mixta castitas

E x . I I . 2 2 . 3 . Start of sequence Eia recolamus Cas. 1741, fo. 83 )

r

(St G a l l , S t i f t s b i b l . 381, p . 336; R o m e , B i b l .

A/f

A.

E - ia re-co - la-mus laudibus pi - is digna.

cT

hA

A.

r.

y
gratis - si-ma. umbra-cu-la.

Hu-ius di - e - i c a r - m i - n a Noctis in-ter n e - b u - l o - s a

in qua nobis lux o - ritur pe-re-unt nostri criminis ~ ^

_ 0 ^

* * . . . ,
A S "

Ho-di - e se-cu - lo maris Stella est e - ni-xa n o - u e sa-lu-tis gau-di-a. Quern tremunt baratra mors cruenta pa-uet ip-sa a quo peri-bit mortu - a.

fT

J\

Jl

</l

Gemit c a p - t a pestis an-ti-qua Ho-mo lapsus o-uis abduc-ta

co-lu-ber li - uidus perdit spo-li - a. r e - u o - c a - t u r ad e - t e r - n a gau-di-a.

to f a c i l i t a t e d i s c u s s i o n of t h e c o r r e s p o n d e n c e s b e t w e e n t h e m e l o d i e s I h a v e n u m b e r e d t h e l i n e s i n a s p e c i a l w a y . T h e e a s t e r n v e r s i o n , Sancti 3X baptiste ( E x . 1 1 . 2 2 . 5 ) , is t h e m o r e r e g u l a r l y p a r a l l e l i n s t r u c t u r e , t h o u g h t h e r e is a s l i g h t i r r e g u l a r i t y i n v e r s e 4 , a n d is l i k e a m o d i f i e d r e p e a t of o n e v e r s i c l e o n l y o u t of v e r s e 3 . T h e w e s t e r n v e r s i o n , canamus ( E x . I I . 2 2 . 4 ) , has n o t h i n g to c o r r e s p o n d w i t h v e r s e I X of baptiste*? V e r s e 4 of Organicis Sancti s h o u l d o n e say t h a t v e r s e 1 of Organicis c o r r e s p o n d s to v e r s e I X , n o t is c o m p l e x . Its m e l o d y m a y b e Sancti Organicis baptisteor

verse 1, of Sancti

represented by the f o r m u l a A A B , A A B , A A C , baptiste

C D , w h e r e D is a c t u a l l y t h e s a m e as

the e n d o f v e r s e 3 , t r a n s p o s e d u p a f o u r t h . C o m p a r e d to t h i s o n e m i g h t say t h a t

i g n o r e s t h e first A , e x c e p t f o r t h r e e n o t e s i n a s c e n d i n g o r d e r , w h i c h r e a p p e a r F i n a l l y , i n Organicis v e r s e 5 is b u t a s i n g l e v e r s i c l e , a n d r u n s s t r a i g h t

at t h e e n d of t h e l i n e . S t r e t c h i n g a p o i n t , o n e m i g h t t h u s r e p r e s e n t t h e v e r s e as A'ABA', ABA'. into verse Z . S o m e o f t h e d i f f e r e n c e s w i t h i n c o r r e s p o n d i n g verses are a l s o of i n t e r e s t . T h e r i s e i n t o a h i g h e r r e g i s t e r so o b v i o u s i n Organicis d o e s n o t h a p p e n i n Sancti baptiste. Both

176 E x . 11.22.4. Sequence Organicis

II.

Chant

Genres (Orleans, B i b l . M u n . 129, fo. 166 )

r

canamus

modulis

~9

_r

Or - g a - n i - c i s cana-mus modu-lis nunc Iohannes sollempni - a. O m - n i - ge-nis domi-no uo-cibus reddentes odas d e - b i - t a s .

Qui in Sanctis su-is m i - r a - b i - l i s ni-mis Nam et in ip-sis quasi quibusdam m u - . . . - s i - c i s

fc P r

'

'

ws

'

* *

* ^

**

multi-pli - ci uir-tutum flore e-os-dem deco-rat instrumentis d i - g i - t o propri - o fi-des a - g i - t a t

ac m i - r i - f i - c e ad-ornat. fi-des uirtu-tum so-norat.

Has numero-se percurrens singu-la Quam generat u i r - t u - t e m mater ilia

. o
9

v permiscens singulis di - a - t e s s a - r o n que a - l i - i s decenter compo-si - ta

9) *
M

9ZL

9 ... melli-flu-am me-lo-di-am. reddet su-auem simpho-ni-am. 0 . 1 1

9

Qua si-ne c u n c t a . . . Qua cum o m - n i - a (4)

fi-unt dis-so-na fi-unt c o n s o - n a

necnon et f r i - u o - l a . necnon u - ti - li - a.

# '

f_

'

'

l :

'

'

Qua ius-ti be-ne

mora-ti

ri - te

pe-tentes excel-sa . . . po-li si-de - ra A - l a c r e s decantant no-ua canti-ca in

cytha - ra

T r e - i - ci - a. -W Quorum a-gentes festa consor-ci-um

90-

me-re - amur in ce-lesti

pa-tri-a.

A-

E x . I I . 2 2 . 5 . Sequence Sancti

baptiste

(St G a l l , S t i f t s b i b l . 546, f o . 124 )

r

i i i

mm

'

*~

Sancti

bap-tis-te Christi preco-nis.

9 ^ * # Solem-ni - a ce-le-brantes mori-bus ipsum se-quamur. Ut ad ui-am quam predixit asseclas su - os per-ducat.

* ' D e - u o - t i te sanctissi-me ho-minum Ap-parensque Z a c h a - r i - e G a - b r i - e l

a - mice Ihesu Christi fla - gita-mus ut gaudi - a p e r - c i - p i - a-mus. re-pro-misit qui tu-am ce - lebrarent o b - s e q u i - i s na - ti - u i - t a - t e m . IX Ut per hec festa e-terna gau-di - a Qua san-cti de-i sacris de - li - c i - i s ad - i-pis - camur. le - ticongaudent.

~9

"

Tu qui prepa-ras f i - d e - l i - u m corda Te depos-cimus ut c r i - m i - n a nostra

Ne quid deui-um uel l u - b r i - c u s Deus Et f a - c i - nora c o n - t i - n u - a pre-ce

in e - is i n - u e - n i - a t . stude-as a b - s o l - u e - r e .

Pla-catus

ut i p - s e su-os Et m a n s i - o - n e s

semper in - ui-se-re in e - is f a - c e - r e

fi-de-les. dig-netur.

3X Et ag-ni uel-le-re quern tuo di - gi - to. Mundi monstraueras t o l - l e - r e c r i - m i - n a nos uelit in-du - e - re.

Ut ipsum mere - a-mur an-gelis as-so - ci - i . In al - ba ueste se-qui per portam clarissi-mam.

A - m i - c e Christi Io-hannes.

v e r s i o n s get as f a r as h i g h d, b u t o n l y Organicis a n d 2 i n Organicis i n Sancti baptiste.

p r e s s e s o n t o g , h e n c e t h e d i f f e r e n c e of w h i c h is a b s e n t Organicis whereas

a f o u r t h at t h e f i n a l c a d e n c e . A l m o s t e q u a l l y n o t i c e a b l e is t h e w a y i n w h i c h v e r s e s 1 h a v e a t h r e e - n o t e c a d e n c e f r o m the s u b - f i n a l , CDD> T h e c a d e n c e is v e r y c o m m o n i n s e q u e n c e s , s o m e w h a t m o r e so i n

t h e w e s t t h a n t h e east, a n d is r e p u t e d to b e of ' G a l l i c a n ' o r i g i n . T h e t e x t of has c o n s t a n t Sancti baptiste l i n e - e n d i n g s i n ' a ' , w h i c h is u s u a l i n t h e w e s t e r n r e p e r t o r y ,

d o e s n o t , w h i c h is u s u a l f o r N o t k e r a n d s o m e o t h e r e a s t e r n w r i t e r s .

J u s t h o w t h e d i f f e r e n c e s b e t w e e n t h e t w o v e r s i o n s arose is o p e n to d e b a t e . T h e r e is c l o s e a g r e e m e n t a b o u t h o w verses s u c h as 3 a n d 4 s h o u l d p r o c e e d . Is t h e ' G a l l i c a n ' c a d e n c e o r i g i n a l o r a l a t e r s t y l i z a t i o n ? M a n y c o p i e s of Organicis presented b y C r o c k e r 1977, 288) (for e x a m p l e , the one 5. Is t h a t a later argues have a d o u b l e - v e r s i c l e verse

r e g u l a r i z a t i o n of t h e m e l o d y ? C r o c k e r ( 1 9 6 7 , ' S e q u e n c e s ' , a n d e s p e c i a l l y 1977)

f o r c e f u l l y that r e g u l a r p a r a l l e l i s m w a s o f t e n i m p o s e d u p o n s e q u e n c e s at a l a t e r stage i n t h e i r f o r m a t i o n . Q u i t e o f t e n it is the e a s t e r n v e r s i o n s w h i c h are less r e g u l a r l y p a r a l l e l , a n d s e v e r a l of C r o c k e r ' s p r e s e n t a t i o n s s h o w h o w v e r s e s , s i n g l e v e r s i c l e s , o r s e g m e n t s w i t h i n versicles, m a y have been a d d e d i n the west, whereas the eastern 4.) T h e great v a r i e t y of f o r m d i s p l a y e d i n t h e e a r l y s e q u e n c e r e p e r t o r y m a k e s t h e c h o i c e of w h a t to m e n t i o n h e r e s o m e w h a t a r b i t r a r y . T h e o b v i o u s l y n o n - G r e g o r i a n c h a r a c t e r of t h e m e l o d i e s h a s t e m p t e d s o m e w r i t e r s to s u s p e c t the i n f l u e n c e of s e c u l a r m u s i c , f o r e x a m p l e i n t h e s e q u e n c e w i t h text Plangant cigni o r Clangant cigni ( a n d v a r i o u s l a t e r t e x t s ) , e n t i t l e d ' P l a n c t u s c i g n i ' i n s o m e sources (see S t a b l e i n 1962, ' D i e S c h w a n e n k l a g e ' , also S t a b l e i n 1975, 1 1 4 ; t h e m e l o d y is also i n A n s e l m H u g h e s 1934, 6 3 ) . T h i s is o n e of m a n y s e q u e n c e s w h i c h h a v e a n o n - r e l i g i o u s t i t l e ; o t h e r s are n a m e d a f t e r The r e p e t i t i o n of s e g m e n t s of verses is v e r y c o m m o n i n s e q u e n c e s . dec, musical In some dum i n s t r u m e n t s (see H o l s c h n e i d e r 1 9 7 5 ) . S a c r e d t i t l e s are u s u a l l y a l l e l u i a i n c i p i t s . m e l o d i e s , w h o l e v e r s e s are r e p e a t e d ( e . g . , Laudes m e l o d y ' H i e r o n i m a ' o r ' F r i g d o l a ' , C r o c k e r 1977, cannina, C r o c k e r 1977, c h . 3 ; a l s o t h e versions p r e s e r v e a n e a r l i e r i r r e g u l a r state of the m e l o d y . ( S e e e s p e c i a l l y C r o c k e r 1977, c h s . 3 -

c h . 6; a n d t h e m e l o d y of Lau

a s e q u e n c e f o r S t B e n e d i c t , g i v e n i n H u g h e s 1934, 3 7 ) . S p e c i a l i n t e r e s t has with and

f o c u s e d o n a f e w m e l o d i e s w h e r e a g r o u p of v e r s e s is r e p e a t e d as a b l o c k . A n e x a m p l e of t h i s is t h e w e l l - k n o w n m e l o d y c a l l e d v a r i o u s l y ' C h o r u s ' , ' C o n c o r d i a ' , e t c . , t e x t s s u c h as t h e e a s t e r n Hanc the w e s t e r n Epiphaniam C r o c k e r 1977, concordifamulatu (the domino m e l o d y is d i s c u s s e d i n S t a b l e i n 154). eia unica, 1964 ( a t t r i b u t e d to N o t k e r of S t G a l l ) a n d A t its m o s t r e p e t i t i v e ( n o t a l l it has t h e f o r m X , deum all Pange

c h . 5 ; see also H a n d s c h i n 1954,

v e r s i o n s of the m e l o d y d i s p l a y t h i s s c h e m e ) , i n Gaude

A B C , A B C B , A , Y ( w h e r e X a n d Y are t h e n o n - r e p e a t e d v e r s e s o f t e n f o u n d at t h e start a n d e n d of e a r l y s e q u e n c e s ) . A s h o r t e r e x a m p l e is t h e less w e l l k n o w n Pur a ( E x . 1 1 . 2 2 . 6 ) (also k n o w n w i t h t e x t s De simul sancto lohanne a n d Pangat simul thought eia, r e s t r i c t e d to t h e area of n o r t h F r a n c e a n d E n g l a n d ; S t a b l e i n 1978

w a s t h e o r i g i n a l , p e r h a p s c o m p o s e d b y H u c b a l d ) . T h e m o s t o b v i o u s f e a t u r e of that

t h e m e l o d y is t h e l a r g e - s c a l e repeat i n v o l v i n g a l l the c e n t r a l s e c t i o n of t h e m e l o d y . A d d e d to t h e f a c t t h a t t h e last h a l f of v e r s e 1 r e a p p e a r s i n v e r s e 4, t h i s m e a n s

22. Ex. II.22.6. Sequence Pura Deum

Sequences 104 )
r

( A n g e r s , B i b l . M u n . 97, f o .

Al-le-lu-

-ia.

Pu-ra De-um laudet i n - n o - c e n - t i - a.

Innocens Christus su-a quam sacrat infan-ti - a. Par-uu-lorum ex morte martyrum p r e - t i - o - sa.

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~r

Quos se - ui - ti - a Cum e x - t i n g u e - r e i s -

H e - r o - d i s da - re ne-ci ius-serat. n i - t i - t u r il-lum qui uitam da-re ue-nerat.

* * Natum namque regem audi-e-rat. Statim m i - l i - t u m pergunt agmina.

Quern succe-de-re si-bi posse in - a - ni pa-uore for-mi-dabat A c tyran-ni-ca complent iussa mili - a mactantes in - nocentum

qui-a non c e - l i regem no-ue-rat. inter dul-ci - a matrum u - b e - r a .

W

Mox in-ui - di - a ac-census et i - ra fer-ui - da infantes a bi-matu et infra. O i m - p i - e - t a s O se-ua n i - m i - u m f e - r i - t a s O nunquam audi-ta c r u - d e - l i - t a s . a*-* 9* O c - c i - d i iubet in totam Da-uidis Bethleem pari-ter ex e-ius per cuncta confi-ni - a. Inson-tes culpa non est que noxias f a - c i - a t a - l i - q u a et mortis subeunt dis-crimi-na.

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A-men.

n e a r l y a l l t h e m u s i c is r e c a l l e d at o n e p o i n t o r a n o t h e r . W h a t is m o r e , t h e m u s i c of t h e recapitulated m i d d l e section contains internal repetitions, and also r e l a t e s to 2. so the 3; o u t s i d e v e r s e s : 3 S is t h e s a m e as 3 V a n d t h e s e s t a r t l i k e t h e o t h e r p h r a s e s i n v e r s e 3 W a n d 3 X a r e t h e s a m e ; t h e c a d e n c e of 3 W a n d 3 X is t h a t of v e r s e Pura deum, o r r a t h e r i t s o t h e r t e x t Pange simul,

w a s h a i l e d b y W i n t e r f e l d ( 1 9 0 1 ) as

a n e x a m p l e of t h e s o - c a l l e d ' s e q u e n c e w i t h d o u b l e c u r s u s ' . W h e t h e r it s h o u l d b e

l i n k e d w i t h t h e o t h e r m e m b e r s of t h i s g r o u p is o p e n to q u e s t i o n , i n v i e w of t h e fact t h a t , u n l i k e t h e o t h e r s , it s e e m s to h a v e b e e n at h o m e i n the l i t u r g y f r o m t h e s t a r t a n d c o n t a i n s m a n y m e l o d i c resemblances to o t h e r l i t u r g i c a l sequences. T h e d o u b l e - c u r s u s g e n r e is d i s c u s s e d b e l o w ( I I . 2 4 . i i ) . S e v e r a l t h i n g s , t h e n , p l a y a p a r t i n m a k i n g a s e q u e n c e r e c o g n i z a b l e b y its m u s i c a l s t y l e . T h e p a r a l l e l - v e r s e s t r u c t u r e , a n d t h e t e x t - s e t t i n g o n t h e p r i n c i p l e of o n e s y l l a b l e per note, constant are t h e m o s t i m p o r t a n t f e a t u r e s , i m p r e s s i o n of m o v e m e n t , and then perhaps recurrent f i g u r e s at motifs surges c a d e n c e s a n d a f e w o t h e r p o i n t s . R e p e a t e d n o t e s are r a t h e r r a r e , a n d t h e r e is t h u s a o c c a s i o n a l l y l o c k e d i n c i r c l e s of r e p e a t e d b u t m o r e often p u s h i n g p u r p o s e f u l l y t o w a r d s a clear m e l o d i c g o a l : the frequent

u p a f i f t h i n t o a n e w r a n g e are the m o s t o b v i o u s m a n i f e s t a t i o n s of t h i s . T h e m e l o d i c g o a l s r e f e r r e d to are u s u a l l y l i m i t e d to t h e final, w i t h o c c a s i o n a l l y a h i g h e r final w h i c h s u p e r s e d e s the first, a n d s o m e t i m e s also t h e l o w e r f o u r t h o r fifth. T h i s tonal singlem i n d e d n e s s c r e a t e s a n i m p r e s s i o n of r a t h e r i n s i s t e n t e n t h u s i a s m ; t h e m e l o d i e s r a r e l y s o u n d r e f l e c t i v e f o r l o n g , e s p e c i a l l y n o t w h e n t h e t e x t s are s u n g , f o r t h e d e c l a m a t i o n of t h e w o r d s i n s y l l a b i c f a s h i o n t e n d s to e m p h a s i z e i n d i v i d u a l n o t e s at t h e e x p e n s e of t h e m e l o d i c p h r a s e as a w h o l e .

( i i i ) Notation;

Performance;

Partially

Texted

Melodies early

S e q u e n c e m e l o d i e s w e r e r e c o r d e d i n a n u m b e r of d i f f e r e n t w a y s . I n s o m e sources the melodies alone are c o p i e d , w i t h o u t texts, for example in B i b l i o t h e q u e M u n i c i p a l e 47 ( P a l M u s 11) a n d S t G a l l , S t i f t s b i b l i o t h e k 4 8 4 1977, p i . 5 ; S t a b l e i n , ' S e q u e n z ' , MGG, by contrast, Paris, Bibliotheque p i . 2 ) . A n o t h e r of the e a r l i e s t m a j o r lat. 1240, has what Nationale,

Chartres, (Crocker sources, the (see 1894,

became

c o m m o n e s t m e t h o d : e a c h s y l l a b l e of t e x t c a r r i e s its o w n n o t a t i o n a l s i g n . I n a d d i t i o n to t h e l a t t e r , m o s t e a r l y W e s t F r a n k i s h s o u r c e s h a v e a c o l l e c t i o n of m e l o d i e s a l o n e Crocker Winchester; 1977, pis. III and Crocker, 'Sequence', 115, A G , 142;
r

also

Frere

H o l s c h n e i d e r 1978;

S t a b l e i n 1975,

117).

E a s t F r a n k i s h m a n u s c r i p t s u s u a l l y p l a c e m e l o d y a n d text s i d e b y s i d e i n p a r a l l e l c o l u m n s , w h e r e b y e a c h p h r a s e of the m e l o d y ( a n d t h e c o r r e s p o n d i n g p a r t of t h e t e x t ) is g i v e n a n e w l i n e . T h e i n t e r n a l c o n s t r u c t i o n of t h e s e q u e n c e is m a d e p a r t i c u l a r l y clear. (See A few S t a b l e i n , ' S e q u e n z ' , M G G , p i . 1 a n d S t a b l e i n 1975, sources, such as Rome, Biblioteca Angelica 123 185, b u t e s p e c i a l l y (PalMus 18), have as give H a u g 1987). a l t e r n a t i n g v e r s e s of t e x t a n d m e l o d y a l o n e . A f e w n o r t h F r e n c h s o u r c e s t h e c o m p l e t e m e l o d y i m m e d i a t e l y after t h e c o m p l e t e t e x t . W h e t h e r the n o t a t i o n of m e l o d y a n d t e x t s e p a r a t e l y i n t h e s e w a y s reflects s o m e s o r t of a l t e r n a t i n g p e r f o r m a n c e much debated (see e.g. Waesberghe 1957 (textmelismatextmelisma, Husmann, 1954, 'Sequenz und A systematic a n d so o n ) Prosa' and has Smits been van (such

L a o n , B i b l i o t h e q u e M u n i c i p a l e 263 a n d C a m b r a i , B i b l i o t h e q u e M u n i c i p a l e 78)

' O v e r het o n s t a a n ' ) .

s u r v e y of r u b r i c s i n l i t u r g i c a l

m a n u s c r i p t s m i g h t h e l p c l a r i f y t h e m a t t e r , t h o u g h s u c h r u b r i c s are rare b e f o r e t h e thirteenth century. (The s i t u a t i o n is t h u s less s a t i s f a c t o r y than for the prosula, d i s c u s s e d b y K e l l y 1985, ' M e l i s m a and Prosula'.) melismatic

T h e p r o b l e m of t h e d o u b l e n o t a t i o n , w i t h a n d w i t h o u t t e x t , is p a r t i c u l a r l y c r i t i c a l i n t h e case of a s m a l l n u m b e r of s e q u e n c e s w h e r e i n the m i d s t o f the v e r s i o n a f e w t e x t e d p h r a s e s are to be f o u n d . T h e s e p h r a s e s also a p p e a r e m b e d d e d i n t h e c o m p l e t e t e x t f o r t h e w h o l e s e q u e n c e . If a n o t h e r t e x t is p r o v i d e d f o r t h e s e q u e n c e m e l o d y , t h e n t h e s a m e p h r a s e s are u s e d a g a i n : t h e y go w i t h t h e m e l o d y . T h e i r o r i g i n , f u n c t i o n , a n d m a n n e r of p e r f o r m a n c e are a l l p u z z l i n g a n d h a v e i n s p i r e d a g o o d d e a l of s p e c u l a t i o n (see B l u m e i n A H 4 9 ; v o n d e n S t e i n e n 1 9 4 6 - 7 , 2 0 5 - 2 0 ; H u s m a n n 'Sequenz u n d Prosa', 7 7 - 9 1 ; Stablein 1961, 'Fruhgeschichte', 8-33). The 1954, use of

p a r t i a l t e x t s s e e m s r e s t r i c t e d to F r a n c e ( a n d n o r t h S p a i n ) a n d E n g l a n d ; t h e f a s h i o n for s u c h pieces persisted longer i n A q u i t a i n e t h a n elsewhere. ( F o r an u n u s u a l S p a n i s h e x a m p l e see H u s m a n n , 1 9 6 1 , ' E c c e p u e r p e r a ' . ) It is not at a l l c l e a r h o w a n a l t e r n a t i m s y s t e m of p e r f o r m a n c e , o r i n d e e d a n y o t h e r s y s t e m , w o u l d a c c o m m o d a t e t h e s e s p e c i a l verses. (See, for example, H u s m a n n 1954, 'Sequenz u n d Prosa', 86; on a peculiar rex alme w i t h p a r t i a l t e x t Gloria 21.) victoria, m e t h o d of n o t a t i n g t h e s e q u e n c e Terribilis

e t c . i n B e n e v e n t a n s o u r c e s , see S t a b l e i n 1 9 6 1 , ' F r u h g e s c h i c h t e ' ,

( i v ) Short Aparallel

Sequences

A l l e a r l y s e q u e n c e c o l l e c t i o n s are d o m i n a t e d b y c o m p o s i t i o n s w h e r e d o u b l e v e r s i c l e s p r e d o m i n a t e , a n d w h e r e t h e n u m b e r of v e r s e s is at least five a n d o f t e n t e n o r m o r e : t h i s m e a n s t h a t t h e n u m b e r of n o t e s , e v e n i g n o r i n g a l l r e p e a t s , o f t e n s u r p a s s e s a n d i n t h e l a r g e s t s e q u e n c e s , s u c h zsFulgenspreclara m a y pass 3 0 0 . B u t m o s t e a r l y c o l l e c t i o n s also i n c l u d e a s m a l l e r n u m b e r of 200, quite ( A n s e l m H u g h e s 1934, n o . 2 3 ) ,

different melodies lacking parallel-versicle structure and usually no more than about s e v e n t y n o t e s l o n g . W i t h o u t t h e c l e a r s t r u c t u r a l f e a t u r e s of t h e l a r g e r s e q u e n c e , t h e y s o u n d s i m p l y l i k e a n a l l e l u i a j u b i l u s , a n d i n d e e d , a l t h o u g h s o m e of t h e m h a v e a s m a l l a m o u n t of i n t e r n a l p h r a s e r e p e t i t i o n , t h i s d o e s n o t go b e y o n d w h a t o n e w o u l d e x p e c t of an a l l e l u i a j u b i l u s . A m o n g t h e 150 o r so s e q u e n c e m e l o d i e s k n o w n u p t o r . 1 0 0 0 , o n l y t w e n t y f a l l i n t o t h e s h o r t a p a r a l l e l c a t e g o r y ; a n d o n l y o n e w a s w i d e l y k n o w n ( t h a t is i n W i n c h e s t e r , A q u i t a i n e , a n d e a s t e r n s o u r c e s ) : t h a t k n o w n as ' E x c i t a d o m i n e ' , w i t h t e x t Qui sceptra, sacer, i n t h e w e s t , a n d as ' L a u d a t e D e u m [ o m n e s a n g e l i ] ' , w i t h t e x t Angelorum regis ordo

i n t h e east ( t h e t i t l e s r e f e r t o t h e a l l e l u i a s w h i c h b e g i n l i k e t h e s e q u e n c e ; b o t h

h a v e the s a m e m e l o d y ) . M o s t h a v e b e e n s u r v e y e d b y K o h r s ( 1 9 7 8 ) . E x . 1 1 . 2 2 . 7 s h o w s t h r e e s h o r t a p a r a l l e l s e q u e n c e s w h i c h take as t h e i r s t a r t i n g p o i n t Alleluia Ostende. T h e first s e q u e n c e w a s w i d e l y k n o w n i n t h e e a r l y p e r i o d , a n d w a s nostras. T h e o t h e r t w o are k n o w n o n l y f r o m u s u a l l y s u n g w i t h t h e t e x t Precamur

P a r i s , B i b l i o t h e q u e N a t i o n a l e , l a t . 1084 ( A q u i t a i n e , late t e n t h c e n t u r y ) , f r o m w h i c h m a n u s c r i p t a l l t h r e e are e d i t e d , w i t h t h e t i t l e s g i v e n t h e r e . E x . I I . 2 2 . 7 is o r d e r e d as follows:

E x . I I . 2 2 . 7 . Alleluia 1084 ( c - f ) )

Ostende

a n d associated sequences ( P a r i s , B i b l . N a t . lat. 776 ( a - b ) a n d

776 f.5v

Al - l e -

-lu-

-ia.

776 f.5v b Osten - de nobis do-mine mise - ri - c o r - d i - a m t u -am et saluta - re

m
1084 f.l97v 'Precamur'

-am da

nobis.

Al - l e -

-lu-

-ia.

1084 f.221r d Precamur nostras Deus a - ni-mas et consci-en-ti - as dig-ne munda ut nunc nostra

Cbristus ue-niens corda

si-bi

in-ue-ni-at

pa-ra-tam.

1084 f.l97r 'Seq. de Ostende 9mfn e Al - l e -lu-ia.

*****

M** .
Z

1084 f.207v 'Ostende* f Al - l e -lu-ia.

(a) (b) (c) (d) (e) (/)

Alleluia, with jubilus V e r s e Ostende Sequence (first) nostras f o r (c) T e x t Precamur nobis

Sequence (second) Sequence (third) between

T h e p i t c h o f t h e n e u m e s o f P a r i s 1084 is n o t a l w a y s c e r t a i n ( c f . K o h r s 1 9 7 8 , 1 5 0 ) . B u t t h e e s s e n t i a l f a c t is c l e a r e n o u g h , t h a t t h e o n l y m e l o d i c c o r r e s p o n d e n c e a l l e l u i a a n d s e q u e n c e s l i e s i n t h e i r o p e n i n g . T h e r e are n o i n t e r n a l r e p e t i t i o n s i n t h e first s e q u e n c e ( r ) , b u t s e q u e n c e (e) b e g i n s w i t h a r e p e a t e d p h r a s e , a n d s e q u e n c e (/) has t w o r e p e a t e d p h r a s e s . B o t h (e) a n d (/) e n d u n e x p e c t e d l y o n a n a, a l l e l u i a . T h e e f f e c t of t h e t e x t Precamur prosula. nostras a n d it m i g h t b e h y p o t h e s i z e d t h a t t h e m e l o d y s h o u l d b e c o m p l e t e d b y s i n g i n g t h e j u b i l u s of t h e is s i m i l a r t o t h a t of a n a l l e l u i a

(v) Italia?t

Sequences

B r u n n e r a n d J o n s s o n h a v e r e c e n t l y e m p h a s i z e d t h a t t h e r e g u l a r i t y so c o n s p i c u o u s i n ( a n d o c c a s i o n a l l y i m p o s e d u p o n ) s e q u e n c e s i n n o r t h e r n l a n d s w a s n o t as i m p o r t a n t a criterion for Italian composers or redactors. Several s e q u e n c e s of I t a l i a n origin d i s p l a y c o n s i d e r a b l e i r r e g u l a r i t y o f s t r u c t u r e , a n d I t a l i a n v e r s i o n s of w i d e l y k n o w n s e q u e n c e s are o f t e n less r e g u l a r t h a n n o r t h e r n v e r s i o n s . S t a b l e i n ( 1 9 6 4 , 3 7 9 ) w a s t e m p t e d to speak of a 'degeneration of t h e s e q u e n c e - p r i n c i p l e [i.e. parallel-verse finds s t r u c t u r e ] i n t h e d i r e c t i o n of t h e l i t a n y o r p s a l m o d y ' . I n I t a l i a n s e q u e n c e s o n e disregard for paired versicles.

f r e q u e n t s i n g l e s , as o p p o s e d t o t h e r e g u l a r d o u b l e s of m o s t n o r t h e r n p i e c e s , o r e v e n a T h e s t r i c t l y s y l l a b i c w o r d - s e t t i n g of t h e n o r t h e r n c o m p o s i t i o n s s e e m s a l s o t o b e less i m p o r t a n t ; t w o n o t e s are o f t e n c o u p l e d f o r a s i n g l e s y l l a b l e , a n d n o t e s are s o m e t i m e s r e p e a t e d t o a c c o m m o d a t e e x t r a s y l l a b l e s . E v e n m o r e s t r i k i n g is t h e a p p e a r a n c e of a s m a l l n u m b e r of s e q u e n c e s w h i c h d i s p l a y t r a c e s of w h a t m i g h t b e c a l l e d a v a r i a t i o n t e c h n i q u e . H e r e t h e s a m e m e l o d y is u s e d , w i t h v a r i a t i o n s , f o r m o s t v e r s e s of t h e c o m p o s i t i o n . L e v y ( 1 9 7 1 ) w a s t h e first t o d r a w a t t e n t i o n t o t h i s , i n a n a n a l y s i s of t h e s e q u e n c e s Lux de luce a n d Hodie Christus. A t h i r d s e q u e n c e of t h i s t y p e , Alma fulgens, dominus Iesus has been cited b y B r u n n e r ( i n

an u n p u b l i s h e d p a p e r , M i l a n , 1984; f o r a b i b l i o g r a p h y of sequences i n Italian sources see B r u n n e r 1 9 8 5 ) . M a n y northern compositions were sung i n Italy, a n d many sequences i n the more u s u a l m a n n e r w e r e c o m p o s e d i n I t a l y . T h e e x a m p l e s m e n t i o n e d h e r e are r a r e . Y e t t h e I t a l i a n t y p e is h i s t o r i c a l l y s i g n i f i c a n t . It is r e l a t e d t o t h e I t a l i a n p r a c t i c e of c o m p o s i n g K y r i e verses w i t h L a t i n t e x t , w h e r e t h e s a m e m e l o d y is u s e d f o r a l l v e r s e s ; a n d a n u m b e r of t r o p e d A g n u s D e i c h a n t s are also c o n s t r u c t e d i n t h e s a m e w a y (see b e l o w II.23.viii andxi). E x . I I . 2 2 . 8 s h o w s Sancte crucis celebremus, w h i c h betrays its I t a l i a n o r i g i n b y the

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d e v i a t i o n s f r o m e x a c t p a r a l l e l i s m are also t y p i c a l l y I t a l i a n . T h i s is n o t a n e x a m p l e o f t h e ' v a r i a t i o n - v e r s u s ' , a l t h o u g h t h e r e is a n e c h o of s u c h p i e c e s i n t h e w a y a l l v e r s e s except 2 have similar cadential phrases. W h e n n o r t h e r n c o m p o s e r s c o m p o s e d a n e w text f o r a n o l d m e l o d y , they u s u a l l y a d o p t e d t h e n o t e - c o u n t a n d n o t e - g r o u p i n g of t h e m e l o d y e x a c t l y . T h i s w a s n o t a l w a y s t h e case i n I t a l y . W h e n t h e m e l o d y of Sancte m a n u s c r i p t f o r a n o t h e r s e q u e n c e , Sanctum crucis celehremus was used i n the M o d e n a phrases were stretched or diem celehremus,

contracted freely a n d n e w material was added. T h e early h i s t o r y of the sequence i n Italy remains obscure, for practically n o Italian

s o u r c e s s u r v i v e f r o m b e f o r e f . 1 0 0 0 . T h e i n e v i t a b l e i m p r e s s i o n is t h a t I t a l y w a s less p r o d u c t i v e t h a n other lands. Nevertheless, some churches were certainly active i n s e q u e n c e c o m p o s i t i o n (see t h e i n f o r m a t i o n o n s o u t h I t a l i a n s o u r c e s i n B r u n n e r 1 9 8 1 ) , a n d t h e y w e r e s u n g e v e n i n t h e O l d R o m a n r e p e r t o r y b y t h e e l e v e n t h c e n t u r y (see L u t o l f 1987 a n d M M M A 2 ) . It is at least p o s s i b l e that l a t e r I t a l i a n s o u r c e s preserve c o m p o s i t i o n s d a t i n g b a c k as e a r l y as a n y i n t h e n o r t h . O n t h e o t h e r h a n d , t h e s t y l i s t i c d i s c r e p a n c i e s b e t w e e n n o r t h e r n a n d Italian m a n n e r s of sequence c o m p o s i t i o n m a y s u g g e s t t h a t I t a l i a n m u s i c i a n s h a d t o a s s i m i l a t e t h e s e q u e n c e as a f o r e i g n g e n r e , a n d o c c a s i o n a l l y f e l l b a c k o n n a t i v e h a b i t s of c o m p o s i t i o n w h i c h a s s o r t e d u n e a s i l y w i t h t h e 'true' sequence.

(vi) The

The Early earliest

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m e n t i o n of the sequence b y name comes Brussels, Bibliotheque Royale

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10127-10144,

the 'Blandiniensis',

p o r t a b l e b o o k l e t c o n t a i n i n g a m o n g o t h e r t h i n g s t h e t e x t s o f c h a n t s t o b e s u n g at m a s s , p r o b a b l y w r i t t e n i n n o r t h F r a n c e ( e d . H e s b e r t i n A M S ) . H e r e s i x a l l e l u i a s i n a l i s t of t w e n t y - f i v e f o r t h e p o s t - P e n t e c o s t S u n d a y s are r u b r i c a t e d ' C U M S E Q U E N T I A ' . A l l s i x a r e f o u n d i n l a t e r m a n u s c r i p t s e i t h e r as a l l e l u i a s w i t h e x t e n s i v e m e l i s m a s at t h e e n d of t h e v e r s e ( m e l i s m a s d i f f e r e n t f r o m t h e a l l e l u i a j u b i l u s ) , a n d / o r as s h o r t a p a r a l l e l sequences. (See S t a b l e i n 1961, ' F r u h g e s c h i c h t e ' , 4 - 7 ; K o h r s 1978, 78 f f . ; C r o c k e r 1977, 393 f f . ) T h e s i x a l l e l u i a s are a l l f o r ' o r d i n a r y ' S u n d a y s of t h e s u m m e r m o n t h s , w h e n n o s p e c i a l c o m m e m o r a t i o n o r feast w a s i n v o l v e d . S e q u e n c e s f o r t h e s e d a y s a r e g e n e r a l l y rare i n later sources. W e r e longer sequences already b e i n g s u n g o n t h e m o r e i m p o r t a n t feast-days of the year? T h e M o n t - B l a n d i n m a n u s c r i p t m a k e s n o m e n t i o n of t h e m . A b o u t 8 3 0 , A m a l a r i u s of M e t z , d e s c r i b i n g the a l l e l u i a of mass, refers to ' H a e c Sequentiae jubilatio q u a m cantores sequentiam vocant' (ed. Hanssens, i i i . 3 0 4 ; P L 105, 1123; C r o c k e r 1977, 3 9 2 ) . T h e s e melodies m i g h t be either short o r l o n g ones. II ( e d . A n d r i e u , i i 215) a n d b y p s e u d o - A l c u i n ( P L 101, 1245). M a n u s c r i p t copies of sequences (melodies alone, notation) finally o r texts alone, or texts with a p p e a r late i n t h e n i n t h c e n t u r y , that i s , at t h e s a m e t i m e as n o t a t e d are a l s o m e n t i o n e d i n a l m o s t t h e s a m e t e r m s i n t h e late n i n t h - c e n t u r y O r d o R o m a n u s

c o p i e s o f m o s t o t h e r c h a n t s , so that f r o m t h i s c i r c u m s t a n c e a l o n e o n e c a n n o t s a y t h a t t h e s e q u e n c e s are a late d e v e l o p m e n t o f t h e c h a n t r e p e r t o r y . ( S e e S t a b l e i n , ' S e q u e n z ' , M G G , e x . 1 ; S t a b l e i n 1 9 6 1 . ' F r u h g e s c h i c h t e ' , 7, w i t h f a c s . f a c i n g 1 6 ; t h e m e l o d i e s i n Chartres 47, P a l M u s 11; a n d v o n d e n Steinen 1946-7, 2 5 2 - 6 3 ) . A g a i n d u r i n g t h e late n i n t h c e n t u r y t h e m o n k N o t k e r B a l b u l u s o f S t G a l l 912) w r o t e a n u m b e r of texts f o r sequences. (c.840( D o c u m e n t a r y evidence exists f o r a f e w ,

b u t t h e rest a r e a t t r i b u t e d o n l y o n s t y l i s t i c g r o u n d s , t h e c a n o n e s t a b l i s h e d b y v o n d e n S t e i n e n , 1948, h a v i n g b e c o m e generally a c c e p t e d . See also S t a b l e i n 1 9 6 2 - 3 ; C r o c k e r 1977 a n d C r o c k e r , ' S e q u e n c e ' , A G . ) T h e c o l l e c t i o n is u s u a l l y r e c k o n e d t o h a v e b e e n

r

c o m p l e t e d a r o u n d 8 8 0 , f o r it w a s d e d i c a t e d t o B i s h o p L i u t w a r d o f V e r c e l l i , c o u n s e l l o r and a r c h - c h a n c e l l o r of the emperor C h a r l e s the F a t , i n 884.

Several

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the

collection

with

remarkable

prooemium,

a p p a r e n t l y w r i t t e n b y N o t k e r to e x p l a i n a n d d e d i c a t e h i s w o r k t o L i u t w a r d ( c r i t i c a l e d i t i o n a n d G e r m a n t r a n s l a t i o n i n v o n d e n S t e i n e n 1948, E n g l i s h t r a n s l a t i o n s C r o c k e r 1977, The 1 a n d ' S e q u e n c e ' , NG\ gist of it is t h a t see also t h e d i s c u s s i o n i n H u s m a n n 1954, a boy had 'St G a l l e r ' ) . 'melodiae N o t k e r as difficulty remembering fleeing

l o n g i s s i m a e ' w h i c h i n the context m u s t m e a n s e q u e n c e m e l o d i e s a n d w o n d e r e d w h a t c o u l d b e d o n e to m a k e t h e m easier to l e a r n . A m o n k , Jumieges sequentias f r o m the s a c k of i n w h a t is n o w N o r m a n d y , c a m e t o S t G a l l w i t h a c h a n t - b o o k i n w h i c h erant modulati'). Notker thought he c o u l d c o m p o s e better texts. He been be

N o t k e r s a w that t e x t s h a d b e e n c o m p o s e d to fit t h e s e q u e n c e m e l o d i e s ( ' v e r s u s a d s h o w e d h i s first a t t e m p t s to h i s m a s t e r I s o f o r c o r r e c t i o n ( I s o s e e m s to h a v e collection. H i s master

f a m i l i a r w i t h t h e t e c h n i q u e of t e x t i n g m e l i s m a s ) , t h e n w e n t o n to p r o d u c e a w h o l e M a r c e l l u s h a d t h e m c o p i e d out i n d i v i d u a l l y o n rolls to shared out a m o n g the c h o i r b o y s for l e a r n i n g . I n s u p p o r t of N o t k e r ' s s t o r y , it has b e e n d e m o n s t r a t e d that t e x t s f o u n d i n t h e west Frankish Sometimes repertory lie b e h i n d some of Notker's compositions (Crocker 1977). he r e w o r k e d ideas i n p r e v i o u s t e x t s , sometimes he d e v e l o p e d his o w n

original ideas. If v o n d e n S t e i n e n ' s list of N o t k e r ' s t e x t s is a c c u r a t e , t h e r e are f o r t y t e x t s t o t h i r t y t h r e e m e l o d i e s ; e i g h t t e x t s are f o r e i g h t s h o r t , a p a r a l l e l m e l o d i e s ; n o n e c o n t a i n s p e c i a l verses nine (partially texted melodies in Paris, melodies). This compares Nationale, with lat. twenty-nine 1240 (no melodies in C h a r t r e s 47 ( t e n s h o r t a p a r a l l e l , n o s p e c i a l v e r s e s ) , a n d w i t h t h i r t y t e x t s f o r t w e n t y Bibliotheque short aparallel 126 and sequences, four w i t h special phrases; listed in v o n den Steinen 1946-7,

C r o c k e r 1958, ' R e p e r t o r y ' , 1 5 4 - 5 ) . T h u s t h e r e is n o u n i f o r m i t y b e t w e e n these c r u c i a l e a r l y w i t n e s s e s as to t h e t y p e of s e q u e n c e t h e y f a v o u r . N o r is t h e r e a n y u n i f o r m i t y i n t h e a s s i g n m e n t of s e q u e n c e m e l o d i e s to p a r t i c u l a r f e a s t - d a y s (see, f o r e x a m p l e , T a b l e I V i n C r o c k e r 1977, 4 0 4 - 5 ) . T h e i m p r e s s i o n is t h a t it w a s o f t e n t h e t e x t w h i c h m a d e a s e q u e n c e p r o p e r to a p a r t i c u l a r feast ( s e v e r a l t e x t s are nevertheless neutral in this respect, being generally laudatory, celebratory, fit. it or christological w i t h o u t i m p l y i n g a connection w i t h any particular feast). T h e m e l o d y , by c o n t r a s t , c o u l d b e e m p l o y e d f o r a n y feast as t h e a u t h o r of t h e t e x t t h o u g h t

I n a d d r e s s i n g trie v e x e d q u e s t i o n of t h e c o n n e c t i o n b e t w e e n a l l e l u i a a n d s e q u e n c e , fixity

is o f t e n f o r g o t t e n that t h e a l l e l u i a m e l o d i e s t h e m s e l v e s c a n h a v e h a d l i t t l e l i t u r g i c a l before the n i n t h c e n t u r y . A l l e l u i a a n d sequence m a y w e l l have f o l l o w e d parallel paths, b o t h starting f r o m a small repertory, perhaps o n l y a d o z e n melodies for each g e n r e , t h e verses of t h e a l l e l u i a a t t a c h i n g it to s p e c i f i c o c c a s i o n s , t e x t s d o i n g the s a m e for the s e q u e n c e . T h e c o m p o s i t i o n of d i f f e r e n t m e l o d i e s , v e r s e s , a n d t e x t s d i d n o t p r o c e e d u n i f o r m l y across E u r o p e . B y the t i m e N o t k e r ' s h y m n - b o o k was c o m p l e t e d ( r . 8 8 0 ) a n d t h e e a r l y c o l l e c t i o n s of west F r a n k i s h t e x t s w e r e m a d e ( c . 9 3 0 f o r P a r i s 1 2 4 0 ) , c o n s i d e r a b l e d i v e r g e n c e e x i s t e d b e t w e e n t h e l i t u r g i c a l a s s i g n m e n t s of s e q u e n c e melodies in different areas of Europe. Whatever connections may have existed

b e t w e e n p a r t i c u l a r s e q u e n c e s a n d a l l e l u i a s , these g r a d u a l l y d i s s o l v e d , a l t h o u g h t h e y a r e s t i l l d e t e c t a b l e i n a f e w cases i n t h e late n i n t h - to t e n t h - c e n t u r y r e p e r t o r y that has survived. T h e state o f t h e O l d R o m a n a l l e l u i a r e p e r t o r y (earliest m u s i c a l c o d i f i c a t i o n o n l y i n the eleventh c e n t u r y , h o w e v e r ) a n d the M i l a n e s e repertory ( m u s i c a l r e c o r d o n l y f r o m t h e t w e l f t h c e n t u r y , h o w e v e r ) l e n d s s o m e s u p p o r t to t h i s h y p o t h e s i s . T h e Roman r e p e r t o r y h a d o n l y t h r e e w i d e l y u s e d m e l o d i e s , w i t h s o m e t w e l v e o t h e r s u s e d less o f t e n , eight of t h e m once o n l y . A t M i l a n , the same m e l o d y was s u n g o n p r a c t i c a l l y all m a j o r f e a s t s , s u p p l e m e n t e d b y e x t r a melodiae f o r festal o c c a s i o n s (see V I 1 1 . 4 ) . In c o m p a r i s o n w i t h these, the chief d i s t i n g u i s h i n g F r a n k i s h - G r e g o r i a n d e v e l o p m e n t s w o u l d b e t h e r a p i d m u l t i p l i c a t i o n of a l l e l u i a a n d s e q u e n c e m e l o d i e s i n t h e n i n t h century and the p r o v i s i o n of texts for the sequences. (On supposed melodic r e l a t i o n s h i p s b e t w e e n a l l e l u i a a n d s e q u e n c e , see H u s m a n n 1955, und Sequenz', 1956, ' M a t e r - G r u p p e ' , 1956, ' I u s t u s u t p a l m a ' . ) a g a i n s t t h i s t r a i n of t h o u g h t (see, for C r o c k e r has argued o n several occasions 1956 ' A l l e l u i a , V e r s

e x a m p l e , 1 9 7 7 , 4 0 0 ) . F o r h i m , t h e s e q u e n c e is e s s e n t i a l l y a n e w c r e a t i o n of t h e n i n t h c e n t u r y , a r i s i n g o u t of t h e m u s i c a l i m p u l s e s a n d a m b i t i o n s of F r a n k i s h m u s i c i a n s a n d o n l y g r a d u a l l y a s s i m i l a t e d to t h e a l l e l u i a of m a s s . T h e r e is t h u s n o n e e d to e s t a b l i s h connections with hypothetical alleluia repertories, o r to e x p l a i n a w a y c o n f l i c t i n g l i t u r g i c a l a s s i g n m e n t s of m e l o d i e s . F u r t h e r m o r e , w h i l e a l l o w i n g f o r t h e p o s s i b i l i t y of c o n t r a f a c t t e x t s , it b r i n g s t h e c o m p o s i t i o n of m e l o d y a n d t e x t i n t o s a m e p e r i o d , i n fact m a k e s t h e m p a r t of t h e s a m e c o m p o s i t i o n a l p r o c e s s . T h u s C r o c k e r b e l i e v e s o n l y t h e short aparallel melodies were used i n the mass before the m i d - n i n t h c e n t u r y . larger s e q u e n c e s b e l o n g to a r a d i c a l l y different creative effort. A n i n d i c a t i o n of h o w t h i n g s m i g h t h a v e p r o c e e d e d is s u g g e s t e d b y t h e case of t h e m e l o d y ' M a t e r ' , already discussed by H u s m a n n but revisited by B o w e r (1982). B o w e r was able to i d e n t i f y an alleluia melody (Schlager catalogue 274) which shares be s i g n i f i c a n t a m o u n t s of m u s i c a l m a t e r i a l w i t h t h e s e q u e n c e , s h o w n t o be a n y o l d e r t h a n t h e s e q u e n c e . ninth century. It is n e v e r t h e l e s s p o s s i b l e to i m a g i n e a c o m p r o m i s e e x p l a n a t i o n , o n e w h i c h sees t h e a l l e l u i a as t h e g e n r e f r o m w h i c h the sequence d e v e l o p e d b u t does not d e n y the o r i g i n a l i t y of m u c h of t h e n e w r e p e r t o r y . T h e r a p i d a n d c o n c u r r e n t e x p a n s i o n of b o t h alleluia a n d sequence repertories i n the n i n t h c e n t u r y w h i c h I have e n v i s a g e d , i n t o the d o z e n s of m e l o d i e s k n o w n b y <r.900, a n d t h e h u n d r e d s k n o w n b y c . 1 0 0 0 , a l l o w s b o t h for a c o n n e c t i o n w i t h the alleluia a n d energetic a n d i n s p i r e d new c o m p o s i t i o n . ( N o n e of t h e s e d e v e l o p m e n t s w a r r a n t s t h e d e s c r i p t i o n of t h e s e q u e n c e as a ' t r o p e ' of t h e alleluia.) C r o c k e r has a r g u e d t h a t m o s t s e q u e n c e s b e g a n l i f e as t h e o r i g i n a l c r e a t i o n s of a p o e t / m u s i c i a n c o m p o s i n g t e x t a n d m u s i c t o g e t h e r . D i f f e r e n c e s b e t w e e n o n e v e r s i o n of a m e l o d y a n d a n o t h e r w o u l d t h e r e f o r e be t h e r e s u l t of d e l i b e r a t e r e v i s i o n . Y e t differences b e t w e e n eastern m e l o d i e s o f t e n s u g g e s t s t h e e n d r e s u l t of o r a l t r a n s m i s s i o n of t h e m e l o d y a l o n e the (see a n d w e s t e r n v e r s i o n s of m a n y ' i n t e r n a t i o n a l l y ' k n o w n but w h i c h cannot The

S o u r c e s f o r b o t h date o n l y f r o m t h e l a t e r

Exx.

11.22.4-5

above).

Here

perhaps

are s o m e

of the f e w , o l d melodies

which Further familiar of their

c i r c u l a t e d i n d i f f e r e n t f o r m s i n d i f f e r e n t areas, b e f o r e b e i n g t e x t e d . T o p r o v i d e a t e x t w o u l d u s u a l l y b e t o fix t h e s h a p e of a m e l o d y i n o n e of i t s d i f f e r e n t f o r m s . texts composed in a particular area would then normally copy the arrangement Since of verses a n d syllable-count i n each verse.

sequence melodies often s o u n d very u n - G r e g o r i a n , explanations

o r i g i n h a v e o f t e n i n v o l v e d n o n - G r e g o r i a n m u s i c . S t a b l e i n b e l i e v e d t h a t s o m e at least i n c o r p o r a t e d a s t r o n g s e c u l a r e l e m e n t , p a r t i c u l a r l y E - m o d e m e l o d i e s ( m o s t are i n G o r D ) like ' P l a n c t u s c i g n i ' . Parallels have n a t u r a l l y been d r a w n b e t w e e n t h e sequences a n d s e c u l a r f o r m s e m p l o y i n g t h e d o u b l e - v e r s i c l e s c h e m e : t h e l a i a n d t h e e s t a m p i e (see Handschin 1929; Spanke 1938; and Stablein 1962, 'Schwanenklage'), b u t lack of c o n t e m p o r a r y m u s i c a l evidence about the secular forms remains a barrier. B y z a n t i n e i n f l u e n c e is n o t n o w t h o u g h t t o h a v e b e e n a m o t i v a t i n g f a c t o r , f o r a l t h o u g h B y z a n t i n e p i e c e s w i t h o c c a s i o n a l t e x t u a l p a r a l l e l i s m e x i s t , t h e i r m u s i c is n o t s y l l a b i c b u t h i g h l y o r n a t e . S t a b l e i n ( ' S e q u e n z ' , M G G , 5 3 1 ) also p o i n t e d to e x a m p l e s of I r i s h s a c r e d t e x t s w ith t e x t u a l p a r a l l e l i s m , b u t n o m u s i c f o r t h e m s u r v i v e s .
T

W e d o not k n o w w h a t alleluias i n the R o m a n chant repertory s o u n d e d like i n the e i g h t h c e n t u r y . I f s o m e a l r e a d y h a d n e w m u s i c ( c a l l e d melodiae) alleluia after the verse, as t h e y d o i n t h e earliest f o r t h e r e p e a t of t h e of the eleventh w r i t t e n sources

c e n t u r y , t h i s m i g h t h a v e s t i m u l a t e d t h e F r a n k s to c o m p o s e s i m i l a r m e l i s m a s . T h e M i l a n e s e a l l e l u i a s c o n s t i t u t e a c o m p a r a b l e case, f o r b y t h e t w e l f t h c e n t u r y , w h e n t h e y w e r e w r i t t e n d o w n f o r t h e first t i m e , melodiae being sung, d i s p l a y i n g intricate repeat structures a n a l y s i s b y B a i l e y 1 9 8 3 , Alleluias). tertiae. of astonishing length were a n d structural melodiae, melodiae (transcription

F o r s o m e a l l e l u i a s t h e r e are t w o sets o f

that is, m u s i c f o r t w o e x t e n d e d repeats after the verse, a n d some even have o l d t h e melodiae sequence. T h e a l l e l u i a s (laudes)

H e r e w e c a n n o t say i f o u t s i d e i n f l u e n c e s w e r e at w o r k i n M i l a n , o r e x a c t l y h o w are. B u t t h e i r history m i g h t w e l l r u n parallel to the F r a n k i s h of t h e M o z a r a b i c rite also i n c l u d e d l e n g t h y m e l i s m a s with

r e p e a t s t r u c t u r e s , s u n g w i t h t h e r e p e a t of t h e a l l e l u i a after t h e v e r s e ( r e p r o d u c e d a n d d i s c u s s e d b y B r o u 1 9 5 1 , ' A l l e l u i a ' ) . T h e i r age is u n c e r t a i n , f o r t h e e a r l i e s t s u r v i v i n g sources date p r o b a b l y f r o m the eleventh century. before the F r a n k i s h cannot ultimately be Expositio W a s a n y t h i n g s u n g i n the G a l l i c a n liturgy (used i n G a u l Gallican antiquae liturgical book liturgiae with music survives, the question

i m p o s i t i o n of R o m a n use) w h i c h c o u l d have been taken u p i n the sequence? Since n o r e s o l v e d . T h e c h i e f s o u r c e o f i n f o r m a t i o n a b o u t t h e l i t u r g y is t h e s o - c a l l e d

gallic an ae ( e d . R a t c l i f f 1 9 7 1 ) , f o r m e r l y a t t r i b u t e d t o G e r m a n u s o f ' h a b e t i p s a A l l e l u i a p r i m a m et s e c u n d a m brief (ed.

P a r i s , n o w t h o u g h t t o h a v e b e e n w r i t t e n i n B u r g u n d y i n t h e e a r l y e i g h t h c e n t u r y . It d e s c r i b e s a t h r e e f o l d a l l e l u i a ( c a l l e d laudes): et t e r t i a m ' , w h i c h i m m e d i a t e l y s u g g e s t s t h e f o r m o f t h e M i l a n e s e a l l e l u i a s . It is n o t clear, h o w e v e r , w h e t h e r these G a l l i c a n 'alleluias' are l o n g melodies o r merely acclamations. A m o n g t h e M i l a n e s e melodiae is t h e c h a n t c a l l e d francigenae

B a i l e y , 1 2 7 ) . T h i s h a s b e e n t a k e n as a n e x a m p l e o f t h e G a l l i c a n ( ' F r a n k i s h ' ) a l l e l u i a .

But it

B a i l e y s h o w s (a) m a y have been

t h a t it is r e l a t e d m e l o d i c a l l y to a n o t h e r M i l a n e s e a l l e l u i a , a n d c o m p o s e d n o e a r l i e r t h a n c. 1000. The possibility

(b) the

nevertheless

r e m a i n s that i n all f o u r c h u r c h e s , M o z a r a b i c , R o m a n , A m b r o s i a n a n d G a l l i c a n , for t h e r e p e a t s of t h e a l l e l u i a after t h e v e r s e . N o n e of t h e s e h y p o t h e s e s a b o u t o r i g i n s s h o u l d d i s t r a c t o u r a t t e n t i o n f r o m i n v e n t i v e n e s s a n d i n s p i r a t i o n of t h e i r c o m p o s e r s .

a l l e l u i a m i g h t already i n the e i g h t h c e n t u r y have been s u n g w i t h e x t e n d e d m e l i s m a s the

s e q u e n c e as w e h a v e t h e m i n t h e i r n i n t h - c e n t u r y f o r m s , r e m a r k a b l e m o n u m e n t s to t h e

(vii)

Rhymed

Sequences

A t s o m e t i m e i n the eleventh century a modest little Easter sequence was c o m p o s e d i n e a s t e r n F r a n c e o r w e s t e r n G e r m a n y w h i c h w a s to e n j o y l o n g e r p o p u l a r i t y t h a n a n y of t h e p i e c e s d i s c u s s e d so f a r . Victimae paschali laudes is u s u a l l y a t t r i b u t e d t o W i p o ( d . c . 1 0 5 0 ) , p r i e s t a n d c h a p l a i n t o t h e e m p e r o r s C o n r a d I I a n d H e n r y I I I (see S z o v e r f f y 1 9 6 4 - 5 , i . 3 7 2 - 4 ) . It is o n l y f o u r v e r s e s l o n g ( 3 a is o m i t t e d i n m o d e r n b o o k s b e c a u s e of i t s a n t i - J e w i s h s e n t i m e n t ) . Its p o p u l a r i t y m a y be d u e to t h e h o m e l y y e t d r a m a t i c t o u c h of i n c l u d i n g a q u e s t i o n to M a r y ( u s u a l l y i n t e r p r e t e d as M a r y M a g d a l e n e ) a n d h e r a n s w e r i n v e r s e 2 . V e r s e s 2 a n d 3 are r e m a r k a b l e b e c a u s e of t h e i r i n t e r n a l - a n d e n d - r h y m e , w h i c h l i n k s not the t w o half-verses b u t the phrases w i t h i n the h a l f - v e r s e . It is o n e of t h e e a r l i e s t s e q u e n c e s to e x p l o i t r h y m e ( E x . 1 1 . 2 2 . 9 ) . A g a i n p r e s u m a b l y b e c a u s e of verse 2 , it w a s t a k e n u p i n t o t h e l i t u r g i c a l d r a m a , a n d a c h i e v e d a p l a c e w i t h i n t h e c y c l e of E a s t e r s e q u e n c e s i n m o s t u s e s o f late m e d i e v a l Ex. I I . 2 2 . 9 . Sequence Vic time paschali laudes ( C a m b r a i , B i b l . M u n . 61, f o . 174 )
r

V i c - t i m e pascha-li lau-des immolent

Christi-a-ni.

Agnus re-demit o-ues Mors et u i - t a d u - e l - l o

_ 0 0 Christus in-nocens pa-tri recon-ci - li - a-uit p e c c a - t o - r e s . c o n f l i - x e - r e miran-do dux ui-te mortu - is regnat ui-uus.
9 9 9 9

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-r-

Die nobis Ma - ri - a A n - g e - l i - c o s testes

quid ui - di-sti in ui - a s u - d a - r i - u m et uestes

Sepulchrum Christi uiuentis Surrexit Christus spes nostra

et g l o - r i - a m ui - di re-sur-gentis. pre-cedit su-os in G a - i l - l e - a m . * * * Ma-ri-e ue-ra-ci quam Iu-de-o-rum tur-be f a l - l a - c i . a m o r t u - i s ue-re tu nobis uictor rex m i - s e - r e - r e .

Credendum est magis so-li Scimus Christum surrexisse

E u r o p e . It p r o v e d p o p u l a r e n o u g h t o w i t h s t a n d t h e p o s t - T r i d e n t i n e p r u n i n g e x e r c i s e i n t h e s i x t e e n t h c e n t u r y a n d is o n e of o n l y f i v e s e q u e n c e s f o u n d i n m o d e r n V a t i c a n books. R e g u l a r r h y t h m is n o t a f e a t u r e of Victimae paschali, b u t can be f o u n d i n some exultemus ( E x . 1 1 . 2 2 . 1 0 ) is s e q u e n c e s c o m p o s e d s h o r t l y a f t e r w a r d s . Congandentes

f o u n d i n m a n u s c r i p t s f r o m a b o u t 1100 o n w a r d s a n d m a y h a v e b e e n c o m p o s e d i n r e s p o n s e t o t h e b r i n g i n g of t h e r e l i c s of S t N i c h o l a s of M y r a t o B a r i i n 1 0 8 7 . M o s t of t h e t w e l v e verses are i n r e g u l a r a c c e n t u a l v e r s e , b u t v e r s e s 4 a n d 5 are n o t . I n v e r s e 6 t h e l i n e s are t r o c h a i c w i t h 8 + 8 4 - 7 s y l l a b l e s e a c h ; t h e r h y m e s c h e m e f o r e a c h d o u b l e v e r s e is A A B C C B , w h i c h became the most p o p u l a r scheme of a l l i n s u b s e q u e n t c e n t u r i e s . L i k e m a n y e a r l i e r s e q u e n c e s , Congandentes m o v e s u p t o a h i g h e r r e g i s t e r at

v e r s e 7, c a d e n c i n g t h e n c e f o r t h a l w a y s o n a i n s t e a d of D. T h e ' G a l l i c a n ' c a d e n c e is l i k e w i s e a n o t h e r f e a t u r e c o m m o n t o m a n y of b o t h t h e o l d e r a n d t h e n e w e r s e q u e n c e s . Hodie me lux diei ( E x . 1 1 . 2 2 . 1 1 ) is o n e of t h e e a r l i e s t c o m p l e t e l y r e g u l a r s e q u e n c e s , p r o b a b l y w r i t t e n i n t h e first h a l f of t h e t w e l f t h c e n t u r y . S i n c e a l l v e r s e s are o f t h e s a m e l e n g t h a n d m e t r i c a l / r h y t h m i c p a t t e r n , t h e e f f e c t is t h a t of a t e n - s t r o p h e h y m n with five d i f f e r e n t m e l o d i e s . It t o o m o v e s g r a d u a l l y h i g h e r f r o m i t s p l a g a l o p e n i n g v e r s e , t o a i n verse 2, d i n v e r s e 3 . V e r s e 4 r e l a x e s a l i t t l e b e f o r e t h e c l i m a c t i c v e r s e 5 , t w o of w h o s e p h r a s e s start o n h i g h d. T h e first p h r a s e of verse 5 is t h e s a m e as t h e s e c o n d of v e r s e 3 , a n d t h e c a d e n c e of t h a t p h r a s e is a l r e a d y p r e s e n t at t h e e n d o f t h e first p h r a s e of v e r s e 3 . T h e c a d e n c e of verse 1, p h r a s e 2 r e a p p e a r s i n v e r s e 5 , p h r a s e 2 . S u c h melodic sequence. cross-references B u t n o w that a n d e c h o e s are n o t , of c o u r s e , verses were composed of absent from the older the regular short phrases,

possibilities for e x p l o i t i n g t h e m were greater. A l l lines e n d F E D C D . m o r e notes p e r s y l l a b l e .

Another new

f e a t u r e , i n c o m p a r i s o n w i t h t h e o l d s e q u e n c e , is t h e f r e q u e n t o c c u r r e n c e o f t w o o r A l a r g e n u m b e r of r h y m i n g s e q u e n c e s h a v e c h a n g e s o f m e t r e . T h i s m i g h t b e s e e n b o t h as t h e c o u n t e r p a r t of t h e c o n s t a n t l y c h a n g i n g l i n e - l e n g t h s of t h e o l d e r s e q u e n c e , a n d as a d i s p l a y of t e c h n i c a l a c c o m p l i s h m e n t . T h e r e sequences, Mane finding prima s u c h as Stola sabbati iocunditatis are i n d e e d s e v e r a l dazzling rhyming verse), e x a m p l e s of m e t r i c a l v a r i e t y . T h e y c a n b e f o u n d i n s e v e r a l of t h e o l d e s t ( w h i c h still has one n o n - a c c e n t u a l crucis ( f o r M a r y M a g d a l e n e ) , a n d Laudes

at toll am us ( f o r t h e MGG,

of t h e T r u e C r o s s , p e r h a p s w r i t t e n f o r t h e r e c e p t i o n of a f r a g m e n t o f t h e T r u e crucis b e c a m e t h e m o s t p o p u l a r of

C r o s s at N o t r e - D a m e , P a r i s , i n 1 1 0 9 : see H u s m a n n , ' N o t r e - D a m e - E p o c h e ' , 1 7 0 6 ; also W e i s b e i n 1 9 4 7 ) . T h e m e l o d y of Laudes all those for r h y m e d sequences, C h r i s t i s e q u e n c e Lauda v e r s e 3 is as f o l l o w s : Sion salvatorem,

being used b y T h o m a s A q u i n a s for the C o r p u s also f o u n d i n m o d e r n V a t i c a n b o o k s . A v a s t

n u m b e r of c o n t r a f a c t a are k n o w n . M o s t v e r s e s p r o c e e d i n t h e 8 + 8 4 - 7 s c h e m e , b u t

3a 3b

8 + 8 + 7 8 + 8 + 7

+ +

4 + 3 7

+ 3 + 4 +

+ 3+ 7

3 + 7 +7

V e r s e s 9 a n d 10 are 8 + 8 + 8 + 7, v e r s e 11 is 8 + 8 4- 8 4- 8 4- 7. N o t a l l c o n t r a f a c t a follow this plan Paranymphus the beginning. exactly. salutat (The virginem was (Ex. very 1 1 . 2 2 . 1 2 ) also has a 4 + 3 + 3 l i n e , r i g h t at popular i n the rhymed office.) Thereafter h a b i t of e n d i n g a v e r s e w i t h a f o u r T h e inclusion scheme

h a r d l y t w o verses have the same s c h e m e . T h e

s y l l a b l e w o r d is b e s t k n o w n f r o m t h e C h r i s t m a s s e q u e n c e Letabundus.

E x . 11.22.10. S e q u e n c e Congandentes

exultemus

( M a d r i d , B i b l . N a c . 19421, f o l .

81 )
v

Congauden-tes ex-ul-temus Ad b e - a - ti N y c h o - l a - i

uo-ca - li c o n c o r - d i - a . u o - t i - u a sollem-ni-a.

Qui in cu-nis adhuc iacens seruando i e - i u - n i - a . A p a - p i l - l i s cepit summa p r o m e - r e - r i gau-di - a. 3 A-do-lescens amplexatur lit - te - rarum stu-di - a. A - l i - e - n u s et immunis ab om-ni l a s - c i - u i - a .

Fe-lix confessor cuius fu - it dig-ni - ta-tis uox de ce - lo n u n - c i - a . Per quam prouectus presulatus sub-li-matur ad summa f a s t i - g i - a.

E-rat in e-ius a - nimo pi - e-tas e - x i - m i - a Au-ro per e-um uir - ginum t o l - l i - t u r i n - f a - m i - a

et op-pressis impendebat mul-ta be-ne - fi - ci - a. atque patris e - a-rundem le-uatur i n - o - p i - a .

i
Quidam naute na-ui - gan - tes lam de u i - t a de-spe-ran - tes et contra fluctu-um s e - u i - c i - a m luctantes in tan-ti p o - s i - t i p e - r i - c u - l o clamantes na-ui pe - ne d i s s o - l u - t a . uo-ce dicunt omnes u-na.

0 be - a - te N y c h o - l a - e Tra-he nos ad portum maris

nos ad portum maris trahe tu qui tot au - xi - li - a-ris

de mortis an-gu-sti-a. pi - e - tatis g r a - t i - a .

192 ( E x . 11.22.10 com.)

e c - c e quidam dicens adsum et tempesjtag f k s e ^ d a - t a ad uestra pre-si - di - a. qui - e -uerunt ma-ri - a.

Cum clamarent nec incassum Statim au-ra da-tur grata

Ex i p - s i - us tumba ma-nat Que i n - f i r m o s omnes s a - n a t

u n - c t i - o - nis c o - p i - a . per e - i u s s u f f r a - g i - a .

Nos qui sumus in hoc mundo G l o - r i - o - s e Nycho-la - e

ui - ti - o - rum in profundo ad s a - l u - t i s portum trahe

iam passi nau-f ra-gi - a. u - b i pax et g l o - ri - a.

Ipsam nobis un-cti - o-nem Qua sa-nauit le - si - o-nem

im-petres a do - mi-no prece pi - a. mul-torum pecca-minum in m a - r i - a .

v 3E
Cu-ius festum ce-le-brantes gaudeant per s e - c u - l a . Et c o - r o - n e t e-ius Christus post uite curri - c u - l a a l - l e - lu-ia.

E x . 11.22.11. Sequence Hodie me lux diei (Assisi, B i b l . C o m . 695, f o . 51 )

v

H o - d i - e r - n e lux di - e - i Decan-temus in hac d i - e

c e - l e - b r i s in matris D e - i semper uir-gi-nis M a - r i - e

a-gitur laudes et

me-mo-ri-a. pre-co-ni-a.

Omnis ho-mo omnis ho-ra Psalle psalle ui-su t o - t o

ipsum cordis

o - r a et implo-ra o-ris uo-ce uo-to

e-ius p a - t r o - c i - ni - a. a - u e ple-na g r a - c i - a .

A - u e re - g i - n a c e - l o r u m F e c u n - d a - t a s i - n e ui - ro

i n - e x - p e r t a ui - ri thorum g e - n u - i s - t i mo-do mi-ro

pa-rens pans nesci - a. ge-ni-torem f i - l i - a .

Florens ortus austro flante F u - s a ce-li ro-retellus

porta clausa post et an-te fu-sum Gede - o-nis uellus

4

W =

u i - a u i - t i s in u i - a . d e - i - ta-tis plu - ui - a. *3

Salue splendor firmamenti Pla-ca ma-re maris Stella

tu ca - n - gi - no - se menu ne in-uoluat nos procel-la

de-super i r - r a - d i - a . et tempestas o b - u i - a .

Amen.

of the m a r k e d l y s h o r t e r verse 2 m a y d e r i v e f r o m the earlier u n r h y m e d s e q u e n c e . g r a d u a l r i s e i n p i t c h is a g a i n n o t i c e a b l e . Hodierne across the lux diet. repertory. salutat
s &

A of

The

final

v e r s e is s t r o n g l y r e m i n i s c e n t

M u c h w o r k r e m a i n s to b e d o n e i n t r a c i n g s u c h i n t e r r e l a t i o n s h i p s

E x . 11.22.12. S e q u e n c e Paranymphus (k> * V ,

0

virginem
^
#

( A s s i s i , B i b l . C o m . 695, f o .
0 s , =

75 )
r

;
W^m uir-gi-nem

* Pa-ranymphus

sa-lutat

^ # no-ui partus

9 9 as-signans ordinem.

En inquit c o n - c i - p i - e s Iam p r e u e n - t a gra-ti - a

par-uulumque p a - r i - e s sed de m o - d o d u - b i - a

nunc pudo-ris sen - ti - es que-rit r e - i n e s - c i - a

le-si-onem. ra-ti-onem.

1
O Ma-ri-a O Ma-ri-a ne for-mides sis s e - c u - r a pre-be fi-dem qui-a f i - d e s nu-tu De-i" p a - r i - t u - r a potens in hoc o - p e - r e . si-neui-ri fe-de-re. Verbum carni iun-gi-tur Nec n a - t u - r a t o l - l i - t u r uir-gi-nis in u - t e - r o . u - n i - u s ab a l - t e - r o .

felix

no-uitas

mi - ra d i g - n a - t i - o

contracta

de-i-tas

la-cet in p r e - s e - p i - o .

p u - e r sa-piens

uerbum ua-giens

O ma-iestas h u - m i - l i s

nos iu-ua nos re-ge

nos uer-bo prote - ge (y

1

nobis car-ne 3*
s

si-mi-lis.

-ft
K

9m ^ 0
9 M

00
1

^ Z

00
Z K

**

3 M **

1=

O M a - r i - a mater D e - i Ihesu pi - e Ihe-su fortis V 9 fi - d u - c i - a.

spe respu-it in te r e - i Ihe- su nostre dux cohor-tis *

tu post Deum nostre s p e - i fac nos es-se t u - e sortis

**
#

^>

in glo - r i - a The many a d v e n t of t h e other genres

tu-ematris gra-ti-a.

A-men. with the c o m p o s i t i o n of songs and

r h y m e d s e q u e n c e is c o n t e m p o r a n e o u s in rhymed, accentual verse: Latin

Benedicamus

conductus (versus), Many different

f o r e x a m p l e , a n d r e l i g i o u s d r a m a s s u c h as t h e ' S p o n s u s ' p l a y . have p l a y e d a part. O n e m a y speculate how

F r e n c h centres will

i n f l u e n t i a l w e r e i n d i v i d u a l c o m p o s e r s s u c h as P e t e r A b e l a r d ( 1 0 7 2 - 1 1 4 2 : see W a d d e l l 1 9 8 6 ) . T h e n e w t y p e of s e q u e n c e m a d e p a r t i c u l a r l y d e e p i n r o a d s i n t o t h e l i t u r g i c a l c y c l e i n P a r i s i n t h e t w e l f t h a n d t h i r t e e n t h c e n t u r i e s : n o o t h e r s e q u e n c e r e p e r t o r i e s of t h e l a t e r M i d d l e A g e s h a v e as h i g h a p o r p o r t i o n of r h y m e d s e q u e n c e s as t h e P a r i s i a n o n e s . A k e y p a r t i n t h e d e v e l o p m e n t s e e m s to h a v e b e e n p l a y e d b y A d a m of S a i n t V i c t o r . T w o phases of a c t i v i t y h a v e b e e n d i s t i n g u i s h e d b y H u s m a n n ( 1 9 6 4 ) a n d F a s s l e r ( 1 9 8 4 ) . A n e w r e p e r t o r y of r h y m e d s e q u e n c e s w a s c r e a t e d i n P a r i s ( p r o b a b l y o n t h e b a s i s of a f e w a l r e a d y e x i s t i n g p i e c e s ) , p e r h a p s as e a r l y as t h e first h a l f of t h e t w e l f t h c e n t u r y , t h o u g h t h e e a r l i e s t s u r v i v i n g s o u r c e s are of t h e n e x t c e n t u r y . M a n y of t h e t e x t s c o n t a i n e c h o e s of t h e t h e o l o g i c a l w r i t i n g s of H u g h a n d R i c h a r d of SaintV i c t o r , w h i c h argues for a c o n t r i b u t i o n by a personage c o n n e c t e d w i t h S a i n t - V i c t o r , t h e P a r i s i a n A b b e y of A u g u s t i n i a n c a n o n s r e g u l a r . T h a t t h e y w e r e s u n g i n a l l t h e c h u r c h e s of P a r i s m u s t m e a n , h o w e v e r , that t h e y w e r e i n t h e l i t u r g y of t h e c a t h e d r a l of N o t r e - D a m e . T h e r e p e r t o r y t h e n b e c a m e k n o w n o u t s i d e P a r i s a n d m i n g l e d w i t h o t h e r l o c a l uses (see H u s m a n n 1964, 191 f f . ) . T h e l i t u r g i c a l a s s i g n m e n t of t h e s e s e q u e n c e s is n o t a l w a y s i d e n t i c a l at S a i n t - V i c t o r a n d N o t r e - D a m e , a n d a n u m b e r of t e x t s are f o u n d o n l y i n S a i n t - V i c t o r m a n u s c r i p t s , p r e s u m a b l y c o m p o s e d there. F u r t h e r m o r e , there appears to have b e e n a systematic r e v i s i o n of t h e m e l o d i e s i n use at S a i n t - V i c t o r . T h a t is, t h e o n e s w e find i n n o t a t e d books of t h e abbey d i f f e r f r o m those of N o t r e - D a m e a n d t h e rest of the city. crucis (see 1984, S o m e t i m e s t h e y c a n b e s h o w n to r e w o r k the o l d e r m e l o d y (see F a s s l e r 1984, A l a r g e n u m b e r of t h e o s t e n s i b l y n e w m e l o d i e s are b a s e d o n m a t e r i a l i n Laudes attollamns. T h i s is t h e case n o t o n l y i n s e q u e n c e s w h i c h b e g i n l i k e Laudes crucis A p e l 1958, 4 6 3 ) , b u t i n o t h e r s w h e r e o n l y i n t e r n a l p h r a s e s are r e u s e d ( F a s s l e r insufficient for c h e c k i n g i n t e r r e l a t i o n s h i p s 252-4).

2 5 8 - 6 0 ; i n c i p i t s are t h e r e f o r e

between

r e p e r t o r i e s ) . F a s s l e r b e l i e v e s that t h e r e s u l t i n g f a m i l i e s of s e q u e n c e s w e r e c r e a t e d i n o r d e r to p o i n t u p c o n n e c t i o n s b e t w e e n ideas i n the texts ( F a s s l e r , 1983). W h a t makes (Misset Their 11(>, t h i s a c t i v i t y p o s s i b l e is of c o u r s e t h e c o n s t r u c t i o n of the m e l o d i e s i n u n i t s of i d e n t i c a l p a t t e r n s , w h i c h , w i t h i n l i m i t s , c o u l d be t r a n s f e r r e d f r o m o n e t e x t to a n o t h e r . and A u b r y 1900 edit the earliest c o m p l e t e S a i n t - V i c t o r source w i t h m u s i c .

m e l o d i c analyses do not d i s t i n g u i s h between V i c t o r i n e and P a r i s i a n melodies, but can b e u s e d w i t h a l i s t o f s p e c i f i c a l l y V i c t o r i n e m e l o d i e s to h a n d : see H u s m a n n , Fassler, 1984, 245).

A s to t h e i d e n t i t y o f A d a m , F a s s l e r c o n n e c t s h i m p l a u s i b l y w i t h t h e first p e r i o d of s e q u e n c e c o m p o s i t i o n i n P a r i s , a n d i d e n t i f i e s h i m w i t h the A d a m w h o w a s p r e c e n t o r o f N o t r e - D a m e at least f r o m 1107, The problem remains of w h o h e l d a p r e b e n d at S a i n t - V i c t o r f r o m which originated For in 1133. Paris d i s t i n g u i s h i n g sequences

( i n c l u d i n g A d a m ' s ) f r o m o t h e r s i n s i m i l a r style c o m p o s e d e l s e w h e r e . p o i n t to t h e c o m p o s i t i o n s o f N i c o l a s of C l a i r v a u x (see B e n t o n 1962).

another

e x a m p l e of d i s t i n g u i s h e d w o r k i n a s i m i l a r v e i n b y a c o n t e m p o r a r y of A d a m o n e m a y R h y m e d sequences were c o m p o s e d i n e n o r m o u s n u m b e r s t h r o u g h o u t the M i d d l e

A g e s . T h e vast m a j o r i t y are q u i t e u n k n o w n . ( L a b h a r d t 1 9 5 9 - 6 3 is a r e l a t i v e l y i s o l a t e d s t u d y . ) S e l e c t i n g t y p i c a l e x a m p l e s is i n e v i t a b l y a r b i t r a r y , b u t o n e final s e q u e n c e m a y d e m o n s t r a t e a n o t h e r o f t h e m u l t i f a r i o u s f o r m a l s c h e m e s t o b e f o u n d . Affluens each is c o m p o s e d of an u n u s u a l l y l a r g e number of phrases, dehcns like ( E x . 1 1 . 2 2 . 1 3 ) a p p e a r s t o b e a l o c a l c o m p o s i t i o n . It h a s o n l y t h r e e d o u b l e - v e r s e s , b u t somewhat

E x . 11.22.13. Sequence Affluens deliciis

( M u n i c h , U n i v . - B i b l . 2 156, f o . 194 )
r

Af-fluens de - li - ci - is H o - d i - e cu-bi-culum

Dauid re-gis f i - l i - a re-gis Hester susci-pit

spon-si fertur brachi-is se d a - r e pe - ri - culum

ad c e - l i s e - d i - l i - a quo hos-ti-lis e f - f i - c i t

> -

-^
^ 9 w ** * querens inter ly - li - a. mortem mundo conticit.

# 9 et a - m i - c a prope-rat sponsum quo ab-i - e-rat Aman instans fraudibus p e c c a - t i ru-den-tibus

Per c e - l i p a - l a - c i - a Vox Rachelis in R a - m a

cuncta transit hos-ti - a hie au-di-tur sed dragma

in-tra regis a-tri-a dul-ceti-bi ca-ni-tur

u - b i sceptrum aureum u - b i te amulecti-tur

Christum os uir-gi-ne-um sponsus et a l - l o - q u i t u r

os-cu-la-tur h o - d i - e quo b e - a - ta f r u - e - r i s

ut sit pax e c - c l e - s i - e . plus precuneus su-peris.

Te transmittit hodi - e Ut f u - g a - t i r e - u o - c e m u r

p tellus ce-li c u - r i - e et prostra-ti sus-ci-temur

x 0 M

- 9 Dauid r e - g i s T h e c u - i - t e m ad e - t e r - n a gaudi - a
W w W

H e - l y - s e - i Su-na-mi-tem. u - b i es in g l o - ri - a

c o n t e m p o r a r y F r e n c h l a i s ( b u t w i t h o u t t h e first- a n d s e c o n d - t i m e e n d i n g s o f t h e l a i ; lais a l s o h a v e f a r m o r e v e r s e s . ) M e l o d i c a l l y t h e p i e c e b e t r a y s i t s o r i g i n b y t h e c o n s t a n t use o f t h e c a d e n c e figure EFEDE, chants w h i c h w e have seen i n a n a l l e l u i a f r o m this p a r t o f E u r o p e ( E x . I I . 1 4 . 7 ) a n d w h i c h is also t o b e f o u n d i n n u m e r o u s o r d i n a r y - o f - m a s s (see f o r e x a m p l e t h e g r o u p g i v e n b y S t a b l e i n , ' A g n u s D e i \ M G G , c o l s . 150 f f . ) , a n d o t h e r g e n r e s , as w e l l as s e c u l a r s o n g s .

11.23.

T R O P E S

Introduction A d d e d M e l i s m a s in Introits A d d e d Melismas in Glorias A d d e d Responsory M e l i s m a s Prosulas for Offertories and A l l e l u i a s Responsory Prosulas O t h e r Prosulas K y r i e s w i t h L a t i n text, K y r i e Prosulas, and K y r i e T r o p e s Benedicamus C h a n t s w i t h E x t e n d e d T e x t , Prosulas, and T r o p e s Introit, O f f e r t o r y , and C o m m u n i o n T r o p e s ; Sequence T r o p e s G l o r i a , Sanctus, and A g n u s T r o p e s Farsed lessons, C r e d o s , and Paternoster G a u t i e r , 1886; ' T r o p u s ' , MGG; Facsimiles: P a u l E v a n s 1961; C r o c k e r 1966; Paul Evans 1970, Early; Stablein,

Steiner, ' T r o p e ' , A G . V e c c h i 1955; P a l M u s 15, 18 (Gloria).

Text editions: A H 47, 4 9 ; C T ; Planchart 1977 Music editions: P a u l E v a n s 1970, Early; M M M A 3; Boe 1989 and 1990 (i) The Introduction g r e a t v i t a l i t y a n d v a r i e t y of t r o p e c o m p o s i t i o n i n t h e Middle

Ages

creates to pre-

c o n s i d e r a b l e p r o b l e m s of d e f i n i t i o n a n d o r g a n i z a t i o n . I d e s c r i b e b e l o w t h r e e t y p e s of c o m p o s i t i o n , a l l of w h i c h are e s s e n t i a l l y a d d i t i o n s of o n e s o r t o r a n o t h e r existing chant: (a) (b) (c) (The t h e a d d i t i o n of a m u s i c a l p h r a s e , a m e l i s m a , w i t h o u t a d d i t i o n a l t e x t ; t h e a d d i t i o n of a t e x t , a p r o s u l a , w i t h o u t a d d i t i o n a l m u s i c ; t h e a d d i t i o n of a n e w verse of c h a n t , c o m p r i s i n g b o t h text a n d m u s i c . C o r p u s T r o p o r u m r e s e a r c h t e a m i n S t o c k h o l m has u s e d t h e t h r e e t e r m s (/;) 'melogene', a n d (c) 'logogene', (a) 7.) r e s p e c t i v e l y , to s i g n i f y t h e s e t h r e e

'meloform',

t y p e s of t r o p e . S e e M a r c u s s o n i n C T 2, 7 a n d J o n s s o n 1978, 102; also H u g l o 1 9 7 8 ,

O d e l m a n ( 1 9 7 5 ) , i n a s u r v e y of t h e r u b r i c s i n the s o u r c e s t h e m s e l v e s , s h o w e d h o w t h e t e r m ' t r o p e ' ( i n its v a r i o u s L a t i n f o r m s ) a n d o t h e r s s u c h as versus, prosula, verba, o f f i c e c h a n t s s u c h as r e s p o n s o r i e s ) . M e d i e v a l usage w a s not u n i f o r m . laudes, prosa, w e r e a p p l i e d to v a r i o u s t y p e s of c h a n t f o r the m a s s ( n o t h o w e v e r , f o r

W h a t e v e r t h e t y p e of t r o p e , t h e y w e r e p r a c t i c a l l y a l l c o m p o s e d to e m b e l l i s h c h a n t s f o r t h e g r e a t f e a s t - d a y s of t h e c h u r c h y e a r . M a n y r e a s o n s f o r the m e d i e v a l i n t e r e s t i n t h e s e p i e c e s h a v e b e e n d i s c u s s e d (see f o r e x a m p l e G y 1 9 8 3 ) , b u t first a n d foremost the w o u l d s e e m to h a v e b e e n t h e s i m p l e d e s i r e to m a k e m o r e s p l e n d i d a n d s o l e m n

p e r f o r m a n c e of t h e l i t u r g y ( p a r t i c u l a r l y m a s s ) o n the m o s t i m p o r t a n t d a y s of t h e y e a r . W h a t e v e r t h e s i g n i f i c a n c e of t r o p e s as d i d a c t i c , t h e o l o g i c a l , p o e t i c m a t e r i a l , a n d so

f o r t h , t h e i r p r i m e e f f e c t o n the l i t u r g y is to m a k e it l o n g e r ( p e r f o r m a n c e of a t r o p e d i n t r o i t c a n last o v e r t e n m i n u t e s ) , to g i v e r i c h e r o p p o r t u n i t i e s f o r s o l o s i n g e r s , o f t e n i n a l t e r n a t i o n w i t h t h e c h o i r ( m o s t t r o p e s are f o r s o l o i s t s , a n d t h e g e n r e s t r o p e d are m o s t l y c h o r a l c h a n t s ) , a n d g e n e r a l l y h e i g h t e n the r i c h c o m p l e x i t y of t h e c e r e m o n i a l ( a l t h o u g h w e k n o w r a t h e r l i t t l e a b o u t the d e t a i l of t h e r i t u a l p e r f o r m a n c e of t r o p e d chants).

( i i ) Added

Melismas

in

Introits partially catalogued, edited, and

M e l o d i c extensions

of i n t r o i t p h r a s e s h a v e b e e n

d i s c u s s e d b y H u g l o ( 1 9 7 8 ) . T h e y are r e s t r i c t e d to t w o g r o u p s of m a n u s c r i p t s : o n t h e one h a n d an A q u i t a n i a n g r o u p d a t i n g f r o m the tenth to the t w e l f t h c e n t u r y , a n d o n t h e o t h e r a G e r m a n - S w i s s g r o u p of t h e t e n t h a n d e l e v e n t h c e n t u r i e s . ( F o r m o d e r n e d i t i o n s of s o m e of t h e A q u i t a n i a n o n e s , see M M M A 3 , s u p p l e m e n t , p p . 2 2 , 2 7 , a n d 3 5 ; E v a n s 1961, 1958). T h e r e s e e m s to h a v e b e e n o n l y o n e m e l i s m a o r set of m e l i s m a s f o r a n y o n e i n t r o i t i n t h e A q u i t a n i a n s o u r c e s . N o t o n l y m i g h t t h e s e v e r a l p h r a s e s of t h e i n t r o i t a n t i p h o n be e x t e n d e d t h u s , b u t so t o o m i g h t t h e p s a l m v e r s e ( s ) a n d d o x o l o g y (at t h e final ' A m e n ' ) , w h e r e t h e y are u s u a l l y r a t h e r m o d e s t i n s c o p e . T e x t s h a v e n o t b e e n f o u n d f o r t h e s e a d d i t i o n a l m e l i s m a s . T h e case is q u i t e o t h e r w i s e , h o w e v e r , w i t h t h e G e r m a n - S w i s s s o u r c e s . F u r t h e r m o r e , f o r s e v e r a l i n t r o i t s these s o u r c e s c o n t a i n m o r e t h a n o n e set of melismas (none coincides w i t h an A q u i t a n i a n one). T h e p r o v i s i o n of e x t r a m e l i s m a s , a n d t e x t s f o r t h e m , i n S t G a l l , 381 f o r t h e E a s t e r i n t r o i t Resurrexi o n e set of m e l i s m a s t h e r e Stiftsbibliothek e x e m p l i f i e s t h e s i t u a t i o n . S t G a l l has n o less t h a n for 'Resurrexi', 'alleluia', 'me', 1 2 7 ; S e v e s t r e i n C T 1, 2 8 7 ; S e v e s t r e 1 9 8 0 , 3 4 . S e e also W e a k l a n d

t e n d i f f e r e n t sets of m e l i s m a s . T h e largest n u m b e r of p h r a s e s i n a set is t e n : t h a t i s , i n are m e l o d i c e x t e n s i o n s ' a l l e l u i a ' , 'est', ' t u a ' , ' a l l e l u i a ' , ' a l l e l u i a ' ( i n t h e i n t r o i t a n t i p h o n ) , ' m e a m ' ( e n d of t h e p s a l m v e r s e ) a n d ' A m e n ' ( e n d of t h e d o x o l o g y ) . W h i l e t h a t p a r t i c u l a r set of m e l i s m a s has n o t e x t s , s e v e r a l o t h e r s h a v e a text f o r e v e r y m e l i s m a i n t h e set, w h e r e t h e m u s i c has b e e n treated a c c o r d i n g to t h e w e l l - k n o w n p r i n c i p l e o f o n e s y l l a b l e p e r sequence repertory a n d the standard method note, in being medio is a f a m i l i a r f r o m the of p r o c e d u r e

p r o s u l a s . P r a c t i c a l l y a l l these m e l i s m a s a n d t h e i r t e x t s f e l l o u t of u s e b e f o r e r e c o r d e d i n p i t c h - n o t a t i o n . T h e set f o r t h e S t J o h n t h e E v a n g e l i s t i n t r o i t In ecclesie is a r a r e e x c e p t i o n ( E x . 1 1 . 2 3 . 1 ) . Is it c h a n c e t h a t t h e v e r s e milibus iste domini, of the argenti hexameter, form of an

that t h e r i g h t n u m b e r of n o t e s w a s a v a i l a b l e ? o r w e r e t e x t a n d m u s i c w h i c h is i n t h e German-Swiss 'Ambrosian' hymn strophe? (For facsimiles

c o n c e i v e d t o g e t h e r , as i n t h e i n t r o d u c t o r y verse Dilectus

m e l i s m a s a n d t e x t s see G a u t i e r 1 8 8 6 ; W e a k l a n d 1 9 5 8 ; C T 1, p i s . I I - V ; C T 3 , p i s . I I I ; t r a n s c r i p t i o n s i n H a n d s c h i n 1952, 1 6 6 - 7 a n d S t a b l e i n , ' T r o p u s ' , M G G , E x . 1 a n d A b b . 1 a n d 2 ; also S t a b l e i n 1975, p i . 59 o n 183.) N o o t h e r s o u r c e s m a k e so m u c h o f t h i s t y p e of i n t r o i t t r o p e as t h e s e e a r l y G e r m a n S w i s s s o u r c e s (the s a m e is t r u e of s i m i l a r m e l i s m a s f o r t h e G l o r i a , d i s c u s s e d n e x t ) ,

E x . 11.23.1. T r o p e verses Dilectus

r

iste Domini,

etc. (St G a l l , S t i f t s b i b l . 484, p . 3 6 ; P i s t o i a , ( E i n s i e d e l n , S t i f t s b i b l . 121, p . 3 9 ;

B i b l . C a p . C . 121, f o . 2 4 ) f o r i n t r o i t /;/ medio ecclesie G r a z , U n i v . - B i b l . 807, f o . 18 )

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w h i c h m a y m e a n t h a t it o r i g i n a t e d at S t G a l l o r a r e l a t e d c e n t r e . T h e t e x t l e s s m e l i s m a s have been associated w i t h the r e p o r t of E k k e h a r d I V of S t G a l l (Casus rerum Sangallensium, St Gallic rotta c h . 4 6 : M G H , Scriptores 101) t h a t T u o t i l o (a m o n k at S t G a l l

i n t h e late n i n t h a n d e a r l y t e n t h c e n t u r y ) c o m p o s e d t r o p e m e l o d i e s f o r t h e ( p r o b a b l y a t y p e of p s a l t e r y ) .

W e i s s n o t i c e d that i n a v e r y f e w cases a d d i t i o n a l t r o p e v e r s e s w e r e also e x t e n d e d b y m e l i s m a s ; t h a t is a n o t h e r w a y of ' t r o p i n g a t r o p e ' . (See W e i s s 1964, ' T r o p i e r t e ' ; also M M M A The 3 , n o . 10, p . 1 3 t h e c e n t r a l m e l i s m a is n o t p r e s e n t i n a l l s o u r c e s a n d 403.) the c o m m e n t a r y to n o . 153, p .

p r i n c i p l e of a d d i n g festal m e l o d i c e x t e n s i o n s to t r a d i t i o n a l c h a n t s s e e m s to nor

r e c u r t h r o u g h o u t t h e h i s t o r y of p l a i n c h a n t . W e a k l a n d ' s a n d H u g l o ' s b e l i e f t h a t i n t r o i t m e l i s m a s w e r e t h e o l d e s t p a r t s of t h e t r o p e r e p e r t o r y c a n n o t b e s u b s t a n t i a t e d , Stablein's minstrelsy. idea that the m e l o d y of E x . 11.23.1 above contains e c h o e s of secular

( i i i ) Added

Melismas

in

Glorias

O t h e r e x a m p l e s of s u c h m e l i s m a s m a y be f o u n d i n t h e G l o r i a r e p e r t o r y , b o t h i n G e r m a n - S w i s s m a n u s c r i p t s and i n F r e n c h ones. I n the G e r m a n - S w i s s sources, t y p e of G l o r i a t r o p e p r e d o m i n a t e s , i n d e e d R o n n a u ( 1 9 6 7 , Tropen, this 197) s t a t e d t h a t a l l

t h e G l o r i a t r o p e s he b e l i e v e d to h a v e o r i g i n a t e d i n S t G a l l w e r e of t h i s t y p e ; w h e r e a s f o r F r e n c h o n e s a d d e d verses of text a n d m u s i c t o g e t h e r are m u c h m o r e c o m m o n . A s i n t h e case of t h e i n t r o i t m e l i s m a s , G e r m a n - S w i s s s o u r c e s s o m e t i m e s h a v e t e x t s f o r t h e i r G l o r i a m e l i s m a s . T h e q u e s t i o n a l w a y s arises w i t h t h i s s o r t of d o u b l e t r o p i n g : is it c e r t a i n t h a t t h e m e l o d i c t r o p e s p r e c e d e d t h e p r o v i s i o n of a t e x t ( o r p r o s u l a , w i t h o n e syllable per note)? c o u l d not b o t h have been St Gall sets of melismas have n o texts, additions. T h e t h r e e F r e n c h G l o r i a t r o p e s of the t y p e w h e r e b o t h m e l i s m a a n d p r o s u l a e x i s t have been facsimiles). A n o t h e r m e l i s m a c o n n e c t e d w i t h the G l o r i a t r o p e r e p e r t o r y is of a d i f f e r e n t t y p e . W i t h i n t h e t r o p e verse Regnum tuum solidum permanebit in eternum several Tropen, sources 179-87 have a l o n g m e l i s m a o n the syllable 'per-'. M a n y m a n u s c r i p t s also have a text for this m e l i s m a , o r m o r e t h a n o n e t e x t . ( F o r d i s c u s s i o n , see R o n n a u 1 9 6 7 , d i s c u s s e d b y R o n n a u ( 1 9 6 7 , Tropen, 188-96, with transcriptions and c o n c e i v e d t o g e t h e r ? S e v e r a l of suggests that texts were the which indeed

a n d R o n n a u 1967,

' R e g n u m ' . ) T h e s e 'Regnum

p r o s u l a s ' , as t h e y are o f t e n c a l l e d i n

m o d e r n l i t e r a t u r e , a l t h o u g h t r a c e a b l e b a c k to the e a r l i e s t s o u r c e s ( P a r i s , B i b l i o t h e q u e N a t i o n a l e , l a t . 1 2 4 0 ) , m a y s a f e l y be s a i d to p o s t - d a t e t h e m e l i s m a to w h i c h t h e y are fitted, s i n c e t h e m e l i s m a is a c t u a l l y b o r r o w e d f r o m a s e q u e n c e m e l o d y , t h e o n e c a l l e d eterna, etc.) and sanctorum, by Notker Balbulus). R o n n a u verse a n d i t s m e l i s m a w e r e sources ' O s t e n d e ( m a i o r ) ' i n e a r l y F r e n c h a n d E n g l i s h s o u r c e s (text Salus ' A u r e a ' i n G e r m a n - S w i s s o n e s (text Clare a d d u c e d s e v e r a l r e a s o n s f o r s u p p o s i n g that t h e Regnum t h e t r o p e set Laus T h e Regnum tua;

very o l d ( n i n t h c e n t u r y ) : association w i t h G l o r i a ' A ' , Bosse n o . 39; association w i t h t h e fact t h a t b o t h e a r l y ' w e s t e r n ' a n d e a r l y ' e a s t e r n ' k n o w b o t h t h e s e c h a n t s a n d t h e Regnum v e r s e . ( F o r e x a m p l e s , see b e l o w , s e c t i o n x i . )

m e l i s m a is h e a r d c l i m a c t i c a l l y i n o n e of t h e last t r o p e v e r s e s of a and

G l o r i a , a final flourish n o t d i s s i m i l a r i n its effect to t h e m e l i s m a s w h i c h so o f t e n c r o w n t h e p e r f o r m a n c e of a f e s t a l r e s p o n s o r y . L i k e r e s p o n s o r y m e l i s m a s , t h e Regnum sections dealing w i t h prosulas. o t h e r c l i m a x m e l i s m a s w e r e f r e q u e n t l y t e x t e d , a n d are t h u s m e n t i o n e d b e l o w i n t h e

( i v ) Added

Responsory

Melismas 1988.

H o l m a n 1961, 1963; Steiner 1973; K e l l y 1974,

A t least o n e i m p o r t a n t m e l i s m a c a n b e d a t e d s e c u r e l y to the e a r l y n i n t h c e n t u r y , o n t h e r e p o r t o f A m a l a r i u s of M e t z , w r i t i n g . 8 4 0 . H e s t a t e d that:

I n the last responsory [of matins of St J o h n the Evangelist], that is In medio ecclesiae, i n contrast to the practice for the other responsories, a neuma triplex is s u n g , and its verse a n d doxology are also p r o l o n g e d by neumas, in contrast w i t h usual c u s t o m . . . T h e r e f o r e because the responsory is s u n g three times by the succentors [before and after the verse a n d after the doxology] the n e u m a is threefold . . . F u r t h e r m o r e , m o d e r n singers s i n g this neuma i n the responsory Descendit de caelis [for M a t i n s of C h r i s t m a s D a y ] at the w o r d 'fabricae m u n d i ' , w i t h w h i c h w o r d the neuma may very aptly h a r m o n i z e . ( E d . Hanssens, i i i . 5 4 - 6 ; 250; q u o t e d i n H o f m a n n - B r a n d t 1971, i . 1 2 - 1 3 , S t e i n e r 1 4 2 - 5 ; Stablein, 'Tropus', M G G , 8 1 1 - 1 2 ; de cells, r a t h e r r a r e l y to In medio 1979, Steiner ecclesie,

see also H a n d s c h i n 1952,

1 9 7 0 ; K e l l y 1 9 8 8 ) . I n t h e s o u r c e s t h a t h a v e c o m e d o w n to u s , t h e m e l i s m a s are u s u a l l y f o u n d a s s i g n e d to t h e r e s p o n s o r y Descendit i n a n o r d e r of i n c r e a s i n g l e n g t h . T h i s is b u t t h e e a r l i e s t t r a c e a b l e t h e m , w h i c h (a) is n o t f o u n d i n a l l s o u r c e s i n s t a n c e of a r e s p o n s o r y m e l i s m a , o r g r o u p of of a p p e a r s to b e a n a d d i t i o n to t h e o r i g i n a l state of t h e r e s p o n s o r y , f o r it ( t h o u g h it c o u l d be a r g u e d that t h i s is t h e r e s u l t a n d v e r y o c c a s i o n a l l y t o o t h e r r e s p o n s o r i e s . T h e t h r e e m e l i s m a s are u s u a l l y a r r a n g e d

s u p p r e s s i o n of a n o r i g i n a l p r a c t i c e b e c a u s e of its e x t r a v a g a n c e ) , a n d (b) is s u s c e p t i b l e to t r a n s f e r e n c e f r o m o n e r e s p o n s o r y to a n o t h e r . I n f a c t , s u c h a t r i p l e set of m e l i s m a s is v e r y r a r e , a n d f o r p a r a l l e l s o n e h a s t o l o o k to t h e A m b r o s i a n r e p e r t o r y , w i t h its m u l t i p l e r e s p o n s o r y a n d a l l e l u i a m e l i s m a s . B y far t h e m o s t c o m m o n p r o v i s i o n is a s i n g l e m e l i s m a , u s u a l l y o n a s y l l a b l e n e a r t h e e n d of t h e r e s p o n d , to b e p e r f o r m e d o n l y

d u r i n g t h e f i n a l s i n g i n g of t h e r e s p o n d after t h e d o x o l o g y . T h e r e s p o n s o r y c h o s e n is u s u a l l y t h e last o n e of M a t i n s , o r the last r e s p o n s o r y of a n i n d i v i d u a l n o c t u r n w i t h i n M a t i n s (the t h i r d a n d s i x t h i n secular c u r s u s , or the f o u r t h a n d e i g h t h i n m o n a s t i c use). T h e e x t e n t of t h e r e p e r t o r y is d i f f i c u l t to assess, s i n c e t h i s d e p e n d s o n extensive c o m p a r i s o n of s o u r c e s , i n o r d e r to detect t h o s e m e l i s m a s p r e s e n t i n s o m e s o u r c e s b u t n o t o t h e r s . ( H o l m a n 1961 a n d 1963 c o m p a r e s W o r c e s t e r C a t h e d r a l , C h a p t e r L i b r a r y F . 160 w i t h t h r e e o t h e r s o u r c e s ; see also D a v i d H u g h e s 1 9 7 2 . ) T h a t m a n y of t h e m might be considered as 'floating', assignable at will to any responsory of the a p p r o p r i a t e m o d e , is s u g g e s t e d b y t h e c o l l e c t i o n a s s e m b l e d b y J a c o b u s of L i e g e as p a r t of h i s t o n a r y ( e d . B r a g a r d i n C S M 3 v i . 2 5 6 f f . ) . M a n u s c r i p t s v a r y w i d e l y i n t h e i r c h o i c e of m e l i s m a s a n d m e l o d i c d e t a i l s ( S t e i n e r d e m o n s t r a t i o n s of t h e i n s t a b i l i t y of the 1973 a n d K e l l y 1974 are excellent repertory.)

( v ) Prosulas

for

Offertories

and

Alleluias

Steiner 1969; B j o r k v a l l and Steiner 1982; B j o r k v a l l 1990; C T 2, 6. P r o s u l a s are t h e t e x t s p r o v i d e d f o r m e l i s m a s o r p r e d o m i n a n t l y m e l i s m a t i c m u s i c . T h e largest repertories that have c o m e d o w n to u s are f o r a l l e l u i a s , o f f e r t o r i e s , and responsories. T h e t e x t i n g of m e l i s m a t i c m u s i c , l i k e t h e a d d i n g of m e l i s m a s , s e e m s to g o b a c k at least t o t h e n i n t h c e n t u r y . O n e of t h e earliest of a l l e x a m p l e s of m u s i c a l n o t a t i o n , M u n i c h , B a y e r i s c h e S t a a t s b i b l i o t h e k , e l m 9 5 4 3 , d a t a b l e to t h e n i n t h c e n t u r y ( p e r h a p s e v e n t h e first h a l f of t h e c e n t u r y ) t r a n s m i t s a n a l l e l u i a p r o s u l a , Psalle A l l . Christus 1959, and resurgens. Stablein (See Smits van Waesberghe Textierungen'; 'Unterlegung'.) (from Palermo, (Saint1957, 1963, 'Zwei o n the early modidamina for texting ' O v e r het o n s t a a n ' a n d h i s t o r y of

m e l i s m a s , see S t a b l e i n 1961,

E x . 1 1 . 2 3 . 2 uses t h r e e s o u r c e s , M a d r i d , B i b l i o t e c a N a c i o n a l 2 8 8

c . 1 1 0 0 ) , w i t h p i t c h e s d e r i v e d f r o m M o n t p e l l i e r , F a c u l t e d e M e d e c i n e H . 159

B e n i g n e at D i j o n , c. 1 0 2 5 ) , a n d P a r i s , B i b l i o t h e q u e N a t i o n a l e , l a t . 7 7 6 ( A l b i , s e c o n d h a l f of t h e e l e v e n t h c e n t u r y ) . T h e e x a m p l e s h o w s o n e o f t h e v e r s e s ( t h e s e c o n d v e r s e in each of t h e t h r e e s o u r c e s u s e d ) f o r t h e o f f e r t o r y Benedixisti (third Sunday of A d v e n t ) . O n t h e last s y l l a b l e o f the verse a p p e a r s a m e l i s m a ( o n e o f v e r y modest

l e n g t h , c h o s e n f o r that r e a s o n : m a n y are far l a r g e r ) , a n d i n b o t h M a d r i d 2 8 8 a n d P a r i s 7 7 6 a p r o s u l a is also g i v e n f o r t h i s m e l i s m a . A l t h o u g h t h e t w o t e x t s d i f f e r , t h e y are clearly c o m p o s e d i n the same w a y . B o t h start w i t h t h e p h r a s e ' d a n o b i s ' of the o f f e r t o r y v e r s e , a n d t h e p r o s u l a of M a d r i d 2 8 8 e n d s w i t h ' d a n o b i s ' . (It c o u l d b e

a r g u e d t h a t ' t e n e b r i s ' is a s s o n a n t w i t h i t . ) A s m a n y s y l l a b l e s as p o s s i b l e i n b o t h t e x t s h a v e b e e n m a d e a s s o n a n t w i t h ' - i s ' . T h e s y l l a b l e g r o u p i n g s r e f l e c t t h e n o t e g r o u p s of t h e m u s i c t h e n o t e g r o u p s are easier t o see i n t h e F r e n c h n e u m a t i c n o t a t i o n of M a d r i d 2 8 8 , b u t e v e n i n t h e A q u i t a n i a n n o t a t i o n of P a r i s 7 7 6 t h e y are n o t d i f f i c u l t t o o b s e r v e . P a r i s 7 7 6 reflects t h e n o t e g r o u p s m o r e f a i t h f u l l y at ' i n c a e l i s i n t e r r i s ' . B o t h

E x . 11.23.2. Verse Ostende nobis for offertory Benedixisti, w i t h prosulas Da nobis famutis and Da nobis potenti ( M a d r i d , B i b l . N a c . 288, fo. 1 2 1 ; M o n t p e l l i e r , Faculte de M e d e c i n e H . 159, p . 2 3 5 ; Paris, B i b l . N a t . lat. 776, fo. 8 )
r r

Madrid

288

i I

Os-ten-de Paris 776

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mi-se-ri-cor-di-am

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Da

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in terris im-pe-rante u i r - t u - t e

tu - i quod

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promi-sis-ti Sanctis t u - i s da no-bis.

holim nostris reful-sit in

te-ne-bris.

t e x t s e x p a n d i n a m o d e s t w a y t h e m e a n i n g of t h e p a r e n t o f f e r t o r y v e r s e , t a k e n f r o m P s a l m 84 ( 8 5 ) : Ps. 8 4 : 2 S h e w us, O L o r d , thy m e r c y : a n d grant us thy salvation.

( M a d r i d 288) G i v e unto us t h y servants, I ask C h r i s t , the reward i n glory of the k i n g d o m w h i c h t h o u hast p r o m i s e d thy saints, give it unto us. (Paris 776) G i v e unto us, t h o u w h o reignest i n might i n heaven and i n earth, y o u r strength, w h i c h once shone i n our darkness. E x . I I . 2 3 . 3 , an alleluia w i t h prosulas, shows h o w a pre-existing text m a y be w o r k e d i n t o the p r o s u l a , b e c o m i n g c o m p l e t e l y assimilated into it. T h e p r o s u l a text is p r i n t e d h e r e w i t h t h e p r e - e x i s t i n g w o r d s (or p a r t s of w o r d s ) i n c a p i t a l s :

Ex.

11.23.3. Alleluia
v

Concussion
r

est

mare

with

p r o s u l a Angelus
r

Michael

(Rome,

Bibl.

A n g . 123, fos. 139 , 2 5 2 ; M o d e n a , B i b l . C a p . O . I. 7, fo. 174 )

AL-LE-

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-IA.

i
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si - mulque Raphael et omnes conciues

-lus Mi-chael at-que Gabri-el

pol-lorum s i - d e - r i s ag-mina

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Concussum ac percussum est

MA-

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ET

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TER-

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m

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# In

mons Garga-ni - co u i c - t o - ri-am Christo

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et

ex-pu-lit

e-um

ex-in-de.

An-gE-LUs michAel atquc G a b r i e l s i m u l q u e Raphael et omnes concives p o l o r u m , sideris agmina, nos concedentem in saecula. C O N C U S S U M ac percussum E S T M A R E , montes, saxa et arva, E T C O N T R E M U I T m u n d u s et expavit draconem p c s t i f e r u m , serpcs a n t i q u o q u i eiectus est de caelo, dimersus sub T E R R A , ( U B I A R C H A N G E L U S M I C H A E L D E S C E N D E B A T ) i n mons G a r g a n i c o , v i c t o r i a m C h r i s t o expugnavit c u m Sathan d u r i u s et expulit e u m exinde. Alleluia. T h e sea was shattered and the earth was terror-shaken w h e n the archangel M i c h a e l came d o w n f r o m heaven. Prosula. A n g e l M i c h a e l and G a b r i e l and Raphael as well and all the citizens of the heavens, the celestial host, together praise h i m w h o reigns for ever. T h e sea, the mountains, rocks, and land were shattered and battered, and the w o r l d was terror-shaken and grew afraid at the plague-bearing d r a g o n , the ancient serpent w h o was cast out of heaven, engulfed below the earth. [ W h e n the archangel M i c h a e l came d o w n f r o m heaven] on M o u n t G a r g a n o a victory for C h r i s t he fought w i t h Satan, more savagely, and drove h i m out f r o m there. ( C f . D r o n k e 1985). T h e s e e x a m p l e s s h o w the t w o most i m p o r t a n t w a y s i n w h i c h text was a d d e d to pree x i s t i n g c h a n t s . M o s t offertory prosulas were p r o v i d e d for m e l i s m a s i n the verses Bjorkvall and Steiner indication of 1982 f o r a u s e f u l r a n g e of e x a m p l e s ) . stand 1118, may the be deduced f r o m the c o m p r e h e n s i v e s u r v e y of t h e r e p e r t o r y , g e n e r a l i z a t i o n s w o u l d b e p r e m a t u r e . h o w matters repertory of of Bibliotheque N a t i o n a l e , lat. largest Aquitanian repository (see Some Paris, 'tropic' 1118, I n t h e a b s e n c e of a

m a t e r i a l . S t e i n e r ( 1 9 6 9 , 371) lists t w e n t y - t w o o f f e r t o r i e s w i t h p r o s u l a s i n P a r i s

a n d c o m m e n t s that m o s t of t h e m are f o r feasts n o t o r n a m e n t e d b y t r o p e s (of t h e t e x t p l u s - m u s i c t y p e ; n o r b y s e q u e n c e s ) . T h e n u m b e r of p r o s u l a s is also f a r i n f e r i o r t o t h e n u m b e r of t r o p e s . A f e w o f f e r t o r y p r o s u l a s b e c a m e p o p u l a r as c o m p o s i t i o n s i n d e p e n d e n t of offertory. Schlager gaudiis. (1983, 'Tropen') has discussed the most their parent celebrated

e x a m p l e , l^etemur

A l l e l u i a p r o s u l a s are p r e s e n t i n P a r i s 1118 i n s l i g h t l y f e w e r n u m b e r s ( f o r t w e n t y a l l e l u i a s ) . M a r c u s s o n ' s e d i t i o n of the t e x t s ( C T 2) h a s o v e r 350 p r o s u l a s f o r e i g h t y - s i x a l l e l u i a s , f r o m f i f t y - t h r e e s o u r c e s . A s w i t h o f f e r t o r y p r o s u l a s , these n u m b e r s are far i n f e r i o r to t h o s e of t r o p e s . T h e m e t h o d of p e r f o r m a n c e of o f f e r t o r y a n d a l l e l u i a p r o s u l a s is u n c l e a r . A p a r t f r o m i s o l a t e d e x a m p l e s i n s e c o n d a r y l i t e r a t u r e (see Schlager, 1967 for an 18, i n t e r e s t i n g B e n e v e n t a n a l l e l u i a p r o s u l a ; also S t e i n e r , ' P r o s u l a ' , NG), a n d V e c c h i 1955). offertory and

a l l e l u i a p r o s u l a s h a v e to be s t u d i e d f r o m m a n u s c r i p t f a c s i m i l e s ( P a l M u s 13, 15,

( v i ) Responsory

Prosulas 1977.

H o f m a n n - B r a n d t 1971; K e l l y

T h e t e x t i n g of t h e t h r e e f o l d m e l i s m a s f o r t h e C h r i s t m a s r e s p o n s o r i e s is a p p a r e n t l y l a t e r t h a n t h e p r o v i s i o n of e x t r a m e l i s m a s . ( T h e earliest s u r v i v i n g t e x t s are i n P a r i s

1084 a n d 1 1 1 8 , b o t h A q u i t a n i a n s o u r c e s o f t h e late t e n t h c e n t u r y ; f o r e d i t i o n s f r o m v a r i o u s s o u r c e s , see S t a b l e i n , ' T r o p u s ' , M G G , E x . 9 , S t e i n e r 1 9 7 9 , K e l l y 1 9 8 8 . ) An i n t e r e s t i n g report places in Bavaria, another that example i n the tenth century. musician called HofmannReginold B r a n d t ( 1 9 7 1 , i . 17) c i t e s a n a n o n y m o u s e l e v e n t h - c e n t u r y c h r o n i c l e r o f t h e b i s h o p s o f Eichstatt w h o says a distinguished c o m p o s e d a n office f o r S t N i c h o l a s , a n d , after b e c o m i n g b i s h o p of E i c h s t a t t ( 9 6 6 - 9 1 ) , c o m p o s e d a f u r t h e r o f f i c e f o r E i c h s t a t t ' s first b i s h o p , W i l l i b a l d ( d . 7 8 7 ) . W e are t o l d t h a t R e g i n o l d c o m p o s e d t h e o f f i c e w i t h l o n g r e s p o n s o r i e s , a n d p l a c e d m e l i s m a s at t h e e n d o f t h e m ( ' i n fine n o t u l a s a p p o s u i t ' ) , a n d that h e t h e n p u t w o r d s b e n e a t h t h e melismas i n the manner of a sequence: 'eisdemque notulis versiculos instar sequentiarum s u b i u n x i t ' . ( A t least p a r t of R e g i n o l d ' s very r e m a r k a b l e trilingual

c o m p o s i t i o n h a s s u r v i v e d : see H o f m a n n - B r a n d t 1 9 7 1 , i . 1 7 - 2 3 . ) A p a r t f r o m i t s e a r l y d a t e , t h i s r e p o r t i s i n t e r e s t i n g b e c a u s e it s u g g e s t s t h a t t h e m e l i s m a t i c ' c a d e n z a ' (the analogy is b o r r o w e d f r o m K e l l y 1974, 461) m i g h t have been t h o u g h t d i s t i n c t e n o u g h f r o m t h e rest o f t h e r e s p o n s o r y t o h a v e b e e n ' p l a c e d t h e r e ' s p e c i a l l y , l i k e a j e w e l i n t h e c e n t r e o f a c r o w n , o n e m i g h t s a y ; a n d it s u g g e s t s also that t h e p r o v i s i o n o f a t e x t f o r t h e m e l i s m a m i g h t b e m o r e o r less s i m u l t a n e o u s . A l t h o u g h H o f m a n n - B r a n d t w a s able t o c a t a l o g u e no fewer than 732 responsory p r o s u l a s , t h e i r d i s p e r s a l a m o n g t h e s u r v i v i n g m a n u s c r i p t s i s v e r y t h i n , i n t h e sense that f e w prosulas became w i d e l y k n o w n , a n d very f e w m a n u s c r i p t s have m o r e than about twenty prosulas (the largest c o l l e c t i o n is that i n Barcelona, fifteenth Biblioteca de century, which actually C a t a l u n y a M . 6 6 2 , a C a t a l a n a n t i p h o n e r of t h e f o u r t e e n t h to studied b y Bonastre 1982). O v e r

has f o r t y ; see A n g l e s 1 9 3 5 , 2 3 4 - 9 f o r s e v e r a l e x a m p l e s ; t h e m a n u s c r i p t h a s n o w b e e n 180 o f H o f m a n n - B r a n d t ' s 4 9 6 s o u r c e s c o n t a i n b u t a s i n g l e p r o s u l a . V e r y m a n y are t h e s p e c i a l f e a t u r e o f a n o f f i c e c o m p o s e d for a l o c a l saint a n d n o t k n o w n elsewhere. A s s o c i a t e d w i t h these p i o u s The prosula technique was restricted, as f a r as r e s p o n s o r i e s observances, to t h e r e s p o n s o r y p r o s u l a as a g e n r e s u r v i v e d w e l l b e y o n d t h e M i d d l e A g e s . are c o n c e r n e d , d i s c r e t e m e l i s m a s . C l e a r repeat s t r u c t u r e s b e c a m e i n c r e a s i n g l y p o p u l a r as t i m e w e n t o n , a n d it e v e n h a p p e n e d that a f r e s h l y c o m p o s e d p r o s u l a w i t h r e p e a t s t r u c t u r e m i g h t s u p p l a n t a p r o s u l a i n less p o p u l a r s t y l e . T h e b e s t - k n o w n e x a m p l e o f t h i s o c c u r r e d i n t h e S t N i c h o l a s o f f i c e (see C h a r l e s J o n e s 1963 a n d H o f m a n n - B r a n d t ) . H e r e a m o d e s t m e l i s m a o c c u r s o n t h e w o r d ' S o s p e s ' at t h e e n d o f t h e r e s p o n s o r y Ex eius tumba. V e r y r a r e l y , i t a p p e a r s t o h a v e b e e n t e x t e d ( w i t h t h e p r o s u l a Sospes Saint-Maur-les-Fosses, 12584). From near Paris, Paris, century Bibliotheque nunc The m e l i s m a is a n i n t e g r a l p a r t o f t h e r e s p o n s o r y as i t is t r a n s m i t t e d i n s c o r e s o f s o u r c e s . efficitur b u t t h i s p r o s u l a is f o u n d o n l y i n t w o s o u r c e s o f t h e e l e v e n t h t o t w e l f t h c e n t u r y f r o m N a t i o n a l e , l a t . 12044 a n d we have sources for a the eleventh onward, however,

r e p l a c e m e n t m e l i s m a a n d text, w h i c h w a s u s u a l l y p e r f o r m e d i n place of t h e m o d e s t f o r m e r m e l o d y d u r i n g t h e final r e p e a t o f t h e r e s p o n d (after t h e d o x o l o g y ; at l e a s t , t h i s is i t s u s u a l p l a c e , a n d t h e u s u a l p l a c e f o r a p r o s u l a ) . T h e n e w t e x t , Sospitati egros, i s i n r e g u l a r fifteen-syllable C C D D (the o r i g i n a l 'Sospes' m e l i s m a has n o repeat s t r u c t u r e ) . dedit trochaic lines, w i t h a m e l o d i c repeat s c h e m e A A B B

206

//. Chant

Genres 358)

E x . 11.23.4. Responsory Beatus Xicholaus

w i t h prosula Oportet devota mente ( A S ,

R. Be-a - tus N i - c h o - l a -

-us

iam trium -pho

p o - t i - tus nouit

su-is f a -

-mul

pre-be - re

ce-le-

-sti-a

com-

-mo-da

qui to - to cor-

-de poscunt ei

us

lar-gi-

-ci-o-

-nem.

*I1-

-li ni-mi-

-rum t o - t a

nos de-

-uo-ti-o -

ne

o-por-

-tet

co-mit - te

re.

V . Ut a - pud

Christum e-ius patroci-ni - is

a d - i u - u e - m u r sem - per.

(Repeat from *Uli)

*l 9*

PROSA

O-portet d e - u o - t a mente s i n - c e - r i - t e r . P e c - c a - t o - r e s Christi-a-nos t e - n a - c i - t e r . w~ = ; fi-li o

Presu-li

tan-to commi-te -

re.

. , ft ,
et spi - ri - tu - i
yM.

Glo-ri-a

patri

et

san

wZ.

- cto.

w.

(Repeat from Illi)

T h e n e w p r o s u l a t o all intents a n d p u r p o s e s a n e w l y inserted c o m p o s i t i o n , text and music togetherwas extremely popular, and b e c a m e the starting-point dedit egros 360) for has I n u m e r o u s c o n t r a f a c t a ( n e w t e x t s to the s a m e m u s i c ) . S i n c e Sospitati b e e n w i d e l y r e p r o d u c e d ( f o r e x a m p l e , S t a b l e i n , ' T r o p u s ' , MGG,

T a f e l 8 9 ; AS

h a v e c h o s e n to i l l u s t r a t e t h e s e c o n t r a s t s of s t y l e w i t h o t h e r e x a m p l e s . ( S e e

also the

s p a r k l i n g d e m o n s t r a t i o n i n K e l l y 1977.) E x x . I I . 2 3 . 4 a n d I I . 2 3 . 5 g i v e t w o p r o s u l a s f r o m C a m b r i d g e , U n i v e r s i t y L i b r a r y M m . 2.9 (a t h i r t e e n t h - c e n t u r y S a r u m a n t i p h o n e r ; f a c s . AS). I n E x . I I . 2 3 . 4 t h e p r o s u l a is a s i m p l e t e x t i n g of a m o d e s t m e l i s m a f r o m a Nicholaus. A l t h o u g h s h o r t it has t h e r e p e a t d i f f e r e n t S t N i c h o l a s r e s p o n s o r y , Beatus structure A A B . I n E x . 1 1 . 2 3 . 5 the c o m p o s e r of the p r o s u l a has ' m a n u f a c t u r e d ' a r e p e a t s t r u c t u r e o u t of a p r e v i o u s l y n o n - r e p e a t i n g m e l i s m a . E a c h p h r a s e of the m e l i s m a is texted t w i c e , a n d t h e r e p e t i t i o n s are d o u b l e d a g a i n b y t h e m a n n e r of p e r f o r m a n c e i n d i c a t e d i n the m a n u s c r i p t , the c h o r u s b e i n g i n s t r u c t e d to r e p e a t each p h r a s e of t h e p r o s u l a , v o c a l i z i n g to t h e v o w e l E. T h e v o w e l itself is d e r i v e d f r o m the o r i g i n a l m e l i s m a , E. ' s u s c i p - E ' , a n d e a c h h a l f verse of t h e p r o s u l a also r h y m e s w i t h

23.

Tropes (AS, W )

207

E x . 11.23.5. R e s p o n s o r y O mater nostra w i t h prosula Eterne virgo memorie

R.

ma-ter

nos - tra ter sancta quaterque be-a - ta.

*Cum prece

de - uo-ta

0 * *KJ> y
9 r

11

famulantum s u s c i - p e
f

uo-ta.

T% IT

Y
V.

^
Iam

Christo

*3

*9 ''4

00 &
-ta. (Repeat from *Cum prece)
r n

iun - eta sponsoque tu-o

soci - a-

&

_^

a r i n r | ~

PROSA

E - t e r - n e uir-go m e m o - r i - e V i r - g i - n i s proles e - g r e - g i - e

quam si - bi despondit rex glori - e. sponsusque uir-gi-nis e c c l e - s i - e .

E. E.

'

ft
E. E.

...

T u gaudes h o - d i - e de do-no gra - ti - e. Et cantas in ce - lo carmen l e - t i - ci - e.

9 # ^ 9

#
E.

* V

'

-9-

'

* "

Te laudantes in t e r - r a res-pi-ce.

At-que nostra clementer susci-pe uota.

'

Vi *

0**99

"

*9^

90

**

= =

Glo-

-ri-a

pa

tri

et

^ fi-li-o

^ et s p i - r i -tu - i

^ sancto.

(Repeat from *Cum prece)

M a n y prosulas are, i n effect, s m a l l sequences, self-contained m u s i c a l items w h i c h c o u l d e a s i l y take o n a l i f e o f t h e i r o w n . O n e e x t r e m e l y p o p u l a r p i e c e , Integra, terra, 138), w h i c h o r i g i n a t e d as a p r o s u l a f o r t h e M a r i a n r e s p o n s o r y Gaude f o r t h e C h r i s t m a s r e s p o n s o r y Werbum caro factum est Maria, Inviolata was et 1956,

f r e q u e n t l y u s e d as a s e q u e n c e at m a s s e s f o r t h e B l e s s e d V i r g i n M a r y . Quern ethera (ed. Irtenkauf

w h i c h was particularly popular a m o n g G e r m a n and N o r t h Italian musicians,

also a c h i e v e d its i n d e p e n d e n c e . B y t h e later M i d d l e A g e s ( a n d p e r h a p s f r o m t h e b e g i n n i n g ) a l t e r n a t i m p e r f o r m a n c e of r e s p o n s o r y p r o s u l a s b e t w e e n s i n g e r s p e r f o r m i n g t h e text a n d o t h e r s s i n g i n g t h e m e l i s m a w a s t h e n o r m . ( S e e K e l l y 1 9 8 5 , ' M e l i s m a ' ; see C h a i l l e y 1 9 4 9 f o r a r u b r i c f r o m a S e n s m a n u s c r i p t i n s t r u c t i n g the cantor to dance d u r i n g t h e p r o s u l a i n a processional responsory.)

Ex.

11.23.6. F r o m

G l o r i a 56

(Vatican

IV)

with

trope

verses O gloria 22 )
v

sanctorum,

etc.

R e g n u m p r o s u l a O rex glorie

( M a d r i d , B i b l . N a c . 19421, f o .

Q U O N I - A M T U SOLUS S A N C T U S . T U SOLUS DOMINUS.

C e - l e s - t i - u m terres - tri - um et i n f e r - n o - r u m

rex.

0 TU

1 z 0 0 ~0s SOLUS ALTISSIMUS.

9

"

Regnum t u - u m so-

-lidum.

"

O rex g l o - r i - e q u i es splendor ac de-cus eccle-si - e. Quam decoras-ti t u - o quoque in cru-ce_preci - o - so sangui-ne. ( m * i \ 0 i m * 0 c a n# Hanc rege semper p i - i s - s i - m e . Qui es fons mise - ri-cordi - e.
?

E. E. t% ^ - * in e-ternum.
#

<*U **uV * # E. E.
# # H # y

* ~ * Per-ma-nebit

i'

IE-SU CHRI - S T E . 0 CUM 0m m0 9 "f 9 9* S A N C T O SPI r 00

Christe c e - l o - r u m . rmwww* ?t ^ 0 *0+0* 0 R I - T U IN G L O R I - A DE-I PA - TRIS. 00

9 0

f0*m +Vi * ~ A-MEN.

0

& ^ ' * v Sal-ue uir-go uir0

* - * -gi-num.

'

+>

7*

M a - r i - a uir-go i n - t r o c e - d e pro nobis ad do - minum. E. Et pi - a pre-ce ro-ga De-um poten-ter per omni - a. E. >* s
-9

Ut

T . . " ~* " det nobis f l o - r i - g e - r a s e - d e . -

,0...

^ *

-ill

9 E.

~ ~ F r u - i semper cum e - o.
~

-fa
9

'0

*0

* #
Et potens es

E.

in

e-ternum.

( v i i ) Other

Prosulas v e r s e , its m e l i s m a o n ' P E R - m a n e b i t ' , a n d at least s o m e of its 1955,

A l t h o u g h t h e Regnum no. 39), with

p r o s u l a s w e r e o r i g i n a l l y a s s o c i a t e d w i t h t h e G l o r i a k n o w n as G l o r i a ' A ' ( B o s s e v e r s e s . E x . 11. 23.6 g i v e s t h e last s e c t i o n of G l o r i a 5 6 ( i n B o s s e 1 9 5 5 ; t h e t r o p e set O gloria sanctorum, from Madrid,

it w a s s o o n u s e d w i t h o t h e r G l o r i a m e l o d i e s a n d w i t h v a r i o u s sets of t r o p e Vatican IV), 19421 The Biblioteca Nacional

( C a t a n i a , S i c i l y , late t w e l f t h c e n t u r y ) . T h i s set of t r o p e v e r s e s is a d a p t a b l e t o v a r i o u s s a i n t s ' f e a s t s , b y t h e i n s e r t i o n of t h e r e q u i r e d n a m e : h e r e ' M a r i a ' is e n t e r e d . r e d a c t o r o f t h e m a n u s c r i p t has d e c i d e d to use the Regnum t h e p o p u l a r p r o s u l a O rex t h e t r o p e v e r s e Celestium glorie. terrestrium, verse a n d m e l i s m a w i t h

H e p r e c e d e s it w i t h a n o t h e r ' w a n d e r i n g ' e l e m e n t , w h i c h is l i k e w i s e f o u n d i n m a n y o t h e r sets of t h e c h a n g e of t e s s i t u r a E, (In a n d Regnum.

G l o r i a t r o p e v e r s e s (see b e l o w , s e c t i o n x i ) . A t t h i s p o i n t t h e m e l o d y d i p s f o r t h e f i r s t t i m e t o l o w G ( G ^ p r e v i o u s l y t h e r a n g e has b e e n Ccand f r o m t h i s p o i n t o n is q u i t e n o t i c e a b l e (G\a). T h e m a i n c a d e n t i a l n o t e r e m a i n s h o w e v e r , w h i c h is w h y n o o t h e r p i t c h is p o s s i b l e f o r Celestium p h r a s e o f p r o s u l a , t h e m e l o d y is r e p e a t e d

G l o r i a 3 9 t h e r e is n o h i a t u s i n t h e p i t c h w h e n t h e s e t r o p e v e r s e s are u s e d . ) A f t e r e a c h as a v o c a l i z a t i o n o n ' E ' , d e r i v e d f r o m p r o s u l a is i m m e d i a t e l y f o l l o w e d b y Blessed set has e, sanctorum ' P E R m a n e b i t ' a n d m a t c h e d by the r h y m e i n the p r o s u l a . I n t h e m a n u s c r i p t , t h i s G l o r i a w i t h Regnum three m o r e alternative prosulas w i t h text i n h o n o u r of, r e s p e c t i v e l y , the

V i r g i n M a r y ( o b v i o u s l y m o r e a p t f o r t h e M a r i a n v e r s i o n of t h e O gloria t h e f i r s t of t h e s e t h r e e a l t e r n a t i v e s . b a c k t o t h e f i r s t v e r s e Salve and o. great majority of Sanctus prosulas are for the second The virgo Interestingly, the

of t r o p e v e r s e s ) , A p o s t l e s , a n d t h e B l e s s e d V i r g i n M a r y a g a i n . E x . I I . 2 3 . 6 s h o w s o n l y p r i n c i p l e of a s s o n a n c e b e c o m e r a t h e r c o n f u s e d . E is m a i n t a i n e d f o r t h e m e l i s m a s , t h o u g h it n o l o n g e r r e f e r s virginum, a n d the p r o s u l a h a s l i n e - e n d s i n u, a, 'Hosanna',

again

p r o v i d i n g a c l i m a x for the c o m p o s i t i o n . L i k e r e s p o n s o r y p r o s u l a s t h e y a s s u m e d s e q u e n c e f o r m (see T h a n n a b a u r , ' S a n c t u s ' , MGG, unitas deitas h a d a n i n t e r e s t i n g c a r e e r as a s e q u e n c e ,

frequently Trinitas (see

E x x . 1 2 - 1 3 ; also S m i t s a m o n g other things

v a n W a e s b e r g h e 1962) a n d c o u l d e v e n b e c o m e i n d e p e n d e n t l i t u r g i c a l i t e m s : S c h l a g e r 1983, ' T r i n i t a s ' ) , a n d Voci vita Very rare indeed are prosulas

w a s u s e d as a s e q u e n c e at H e r e f o r d . ( T w o the Sanctus melody itself is retexted: of

H o s a n n a p r o s u l a s f o r m p a r t of E x . 11 .23.16 b e l o w . ) where T h a n n a b a u r ( 1 9 6 7 ) cites t h r e e e x a m p l e s . T h e t y p e is l i m i t e d to e a s t e r n s o u r c e s the f o u r t e e n t h century and later. T w o c h a n t s r a r e l y e m b e l l i s h e d b y a n y k i n d of t r o p e w e r e t h e g r a d u a l a n d t r a c t . S t a b l e i n ( ' G r a d u a l e ( G e s a n g ) ' , MGG) r e l a t i v e l y late s o u r c e s .
v r

g i v e s e x a m p l e s of g r a d u a l p r o s u l a s , a l l f r o m (see

Tract
r

p r o s u l a s are f o u n d o n l y i n I t a l i a n m a n u s c r i p t s

P a l M u s 15, f o s . 7 5 , 9 0 ,

1 1 0 , a n d V e c c h i 1955, f o . 7 4 f o r e x a m p l e s i n f a c s i m i l e ) .

E x . I I . 2 3 . 7 . K y r i e Te Christe supplices Sfr .

1. 3.

( L a o n , B i b l . M u n . 263, fo. 20 )
v

&

=
e - ley - son. e - ley - son.

T e Christe suppli-ces e-xo-ramus cuncti-potens ut nostri dig-neris O bone rex super astra qui sedes et do-mi - ne qui cuncta gubernas

1. 3.

K y - r i - eK y - r i - e-

-lei - son. -lei - son.

2.

Te decet laus cum tripudi - o

pa-ter summe un-de te pe-timus

e-leyson.

2.

K y - r i - e-

-leison

4. 6.

T u - a d e - u o - t a plebs implorat i u - g i - t e r ut il - li dig-neris e - l e i - s o n O the - os a - g y - e saluans u i - u i - f i - c e redemptor mundi e-ley-son.

**
4. 6. ChristeChriste-

'fi

-lei-son .....

- l e i - son.

5.

Qui canunt ante te

tu pre-cibus a n - n u - e

et no-bis semper

e-ley-son.

5.
0

^*
* * 9
M

9 * *
-lei-son.
* 9
M

ChristeM

* {**9?9M

fx

1.

Clamat incessanter nostra c o n - c i - o

dicens e - l e y s o n .

Ky - ri - e-

Mi-se-re-re fi-li

D e - i ui-ui

no-bis

e - lei - son.

Kyri-e-

-lei - son.

9. In ex-celsis D e - o ma-gna sit g l o - r i - a e - t e r - n o patri qui nos re - demit propri-o sangui-ne ut ui - ui - f i - c a r e t a mor-te

di-camus i n - d e - s i -

-nenter u - n a uo-ce e - l e y - s o n .

K y - ri - e-

-lei - son.

( v i i i ) Kyries

with Latin

Text, Kyrie

Prosulas,

and Kyrie
5

Tropes

C r o c k e r 1966; Bjork 1979/80, 1980, ' K y r i e T r o p e , 1980, ' E a r l y Settings', 1981. Q u e s t i o n s a b o u t w h a t is a d d e d m a t e r i a l a n d w h a t c o n s t i t u t e s t h e o r i g i n a l f o r m o f t h e c h a n t a r e p a r t i c u l a r l y p r e s s i n g i n t h e case o f m a n y K y r i e s . W a s e a c h K y r i e w i t h L a t i n t e x t s o c o m p o s e d i n t h e b e g i n n i n g , o r w a s t h e t e x t a d d e d as a p r o s u l a t o t h e o r n a t e melody? I f t h e earliest sources already have the Latin text, then w e have n o d o c u m e n t a r y e v i d e n c e for s u p p o s i n g the u n t e x t e d v e r s i o n existed earlier. C r o c k e r a n d p a r t i c u l a r l y B j o r k have s u p p o r t e d this reasoning w i t h stylistic a r g u m e n t s . Ex. I I . 2 3 . 7 is a transcription f r o m L a o n , B i b l i o t h e q u e M u n i c i p a l e 263 ( L a o n , t w e l f t h c e n t u r y ) of a K y r i e w i t h L a t i n text w h o s e t r a n s m i s s i o n goes b a c k to b o t h early w e s t a n d east F r a n k i s h m a n u s c r i p t s . A l t h o u g h t h e y a r e n o c e r t a i n test o f p r o s u l a t e c h n i q u e , the s y l l a b l e - a n d n o t e - g r o u p s do not suggest that this text has b e e n fitted to a pre-existent m e l o d y . M o r e i m p o r t a n t t h a n that t h e s y l l a b l e - g r o u p s d o not f o l l o w the n o t e - g r o u p s i n this particular source (other sources s h o w n o better correspondence) is t h e f a c t t h a t v e r s e s w i t h t h e s a m e m e l o d y (1 = 3 , 4 = 6 , 7 + 8 = 9) d o n o t h a v e t h e s a m e s y l l a b l e - g r o u p s . A g a i n s t this c o u l d be a d d u c e d t h e e assonance i n verses 5 a n d 6. T h e K y r i e w i t h text Kyrie constant fons bonitatis ( E x . I I . 2 3 . 8 ) i s m u c h m o r e a r t f u l i n t h e s e r e s p e c t s . T h e c o r r e s p o n d e n c e o f n o t e - a n d s y l l a b l e - g r o u p s i s q u i t e s t r i k i n g , as also t h e e r h y m e s . T h i s m a y s i m p l y reflect t h e taste o f t h e e l e v e n t h c e n t u r y , as o p p o s e d t o t h a t o f t h e n i n t h . B u t i t p o s s i b l y r e f l e c t s also t h e fact t h a t t h e t e x t w e c o u l d j u s t i f i a b l y c a l l it a p r o s u l a a p p e a r s i n t h e m a n u s c r i p t t r a d i t i o n l a t e r t h a n t h e m e l o d y . T h e e a r l i e s t s o u r c e s , f r o m W i n c h e s t e r a n d A r r a s , o f t h e late t e n t h a n d e a r l y e l e v e n t h c e n t u r y , d o n o t h a v e t h e L a t i n t e x t . ( P r e v i o u s l y a v a i l a b l e Variae 1 6 5 - 7 , Cantus selecti, 8 1 * 8 2 * , Graduale Sarisburiense, other K y r i e s of this type.) Q u i t e d i f f e r e n t i n i m p a c t are t h e t r o p e v e r s e s s o m e t i m e s p r o v i d e d f o r these a n d articles other melodies, w h i c h were largely u n k n o w n u n t i l the examples i n Bjork's can be reconstructed). preces, 2 * v , together w i t h several

a p p e a r e d ( p r i n c i p a l l y B j o r k 1980, ' K y r i e T r o p e ' , w h i c h c o n t a i n s p r a c t i c a l l y all that S u c h trope verses contrast m u s i c a l l y w i t h t h e n i n e i n v o c a t i o n s of t h e m a i n c h a n t . B j o r k ( 1 9 8 0 , ' K y r i e T r o p e ' , T a b l e 2) l i s t s s o m e t w o d o z e n t r o p e s , w h i c h a r e d i s t r i b u t e d t h i n l y o v e r e a r l y m a n u s c r i p t s f r o m a l l areas o f E u r o p e . I n e a r l y S w i s s - G e r m a n sources this type of K y r i e is p r e f e r r e d , w h i l e F r e n c h ones c o n t a i n a m u c h g r e a t e r p r o p o r t i o n o f K y r i e s w i t h L a t i n t e x t ( o r p r o s u l a s ) . M a n y f e l l o u t o f use b e f o r e b e i n g r e c o r d e d i n staff n o t a t i o n . W h i l e m a n y o f these tropes consist of b u t a single i n t r o d u c t o r y verse, others make u p a set o f e i g h t v e r s e s d e p l o y e d b e t w e e n t h e n i n e i n v o c a t i o n s o f t h e m a i n c h a n t . A f e w sets c o n t a i n t h r e e v e r s e s , d i s t r i b u t e d as i n E x . I I . 2 3 . 9 . T h e set a p p e a r s h e r e w i t h Kyrie 55 ( i n L a n d w e h r - M e l n i c k i 1 9 5 5 ) , also t h e base melody of E x . II.23.7. invocations, M e l o d i c a l l y it b o t h c o m p l e m e n t s i t a n d c o n t r a s t s w i t h i t , s o m e t i m e s a w k w a r d l y : t h e verse Iterum dicamus rises t o d, p r e p a r i n g u s f o r t h e h i g h e r - l y i n g Christe b u t t h e n s u b s i d e s o n t o t h e f o r m e r l o w p i t c h e s . T h e last t r o p e v e r s e , Et submissis vultibuSy a g a i n p r e p a r e s f o r t h e m o v e t o h i g h e r p i t c h e s i n t h e f i n a l K y r i e .

212 Ex. II.23.8. K y r i e Fons bonitatis

IL

Chartt

Genres 26 )
v

( L a o n , B i b l . M u n . 263, fo.

1. 2. 3.

K y - r i - e fons bo - n i - t a - t i s pa-ter in - ge-ni-te a quo bo-na cuncta pro-cedunt e - ley - son. K y - r i - e qui pa - ti natum mundi pro cri m i-ne ip-sum ut sal-ua-ret m i - s i s - t i e - l e i - s o n . K y - r i - e qui sep - ti - f o r - m i das dona pneumate a quo celum t e r - r a re-pletur e - l e i - s o n .

K y - r i - e-

-lei

- son. (also after

2. and 3.)

Christe Christe Christe

u - n i - c e D e - i patris g e - n i - t e quern de uirgi-ne nas-ci-turum mundo miri - fi - ce a-gy-e c e - l i compos regi - e melos glori - e c u - i semper adstans pro numine c e - l i - t u s adsis nostris precibus pronis mentibus quern in terris deuo-te c o - l i - m u s

1
sancti pre-di - xerunt prophete e - ley - son. a n - g e - l o r u m decantat a-pex e - ley - son. ad te p i - e Ihe - su clamantes e - lei - son.

4. Christe-lei - son. (also after 5. and 6.)

7. 8. 9. K y - r i - e spi - ritus alme co-herens pa-tri natoque u - n i - u s u - si - e K i - ri - e qui bapti-zato in Iorda - nis unda Christo effulgens speci-e K y - r i - e ig-nis diui-ne pecto-ra nostra succende ut digni p a - r i - t e r consis-tendo colum-bi-na procla-ma-re

flans ab u-troque e - lei - son. ap-pa-ru-is-ti e - lei - son. pos-simus semper e - lei - son.

7.

Ki - ri

- l e i - s o n . (also after 8. and

9.)

A n u m b e r o f I t a l i a n K y r i e s w i t h L a t i n v e r s e s are c o m p o s e d w i t h t h e s a m e m e l o d y t h r o u g h o u t , that 1980, is, for all the acclamations 1989 a n d the a l t e r n a t i n g L a t i n for examples.) verses. The Bjork same result is not u n l i k e the t y p e of l i t a n y m e n t i o n e d i n s e c t i o n I I . 1 7 . i a b o v e . (See ' E a r l y Settings' and especially Boe h e r e w i t h o t h e r g e n r e s as c u l t i v a t e d b y I t a l i a n m u s i c i a n s : s e q u e n c e s w i t h t h e

T h e r e is a c o n n e c t i o n

m e l o d y for all verses have b e e n m e n t i o n e d above ( I I . 2 2 . v ) and other t r o p e d o r d i n a r y

E x . I I . 2 3 . 9 . K y r i e 55 w i t h trope verses Christe redemptor, 166 )

v

etc. (Paris, B i b l . N a t . lat. 9 0 3 , fo.

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Christe redemptor m i s e - r e - r e no-bis

* * *

k i r - r i - e - lei - son

ei

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mi-se-re-re

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kir - r i - e - lei - son.

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9-

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1.3.

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E - LEISON.

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Et submissis uul-ti-bus depreca-mur tri-ni - t a - t e m re - gem aeter-num H m

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ELEISON. 8. KIRRIE
3

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9. KIR - R I - E mass chants followed the same pattern. E x .

E-LEISON.

of

11.23.18 below is an A g n u s D e i

composed in this way.

(ix) Benedicamus

Chants with Extended

Text,

Prosulas,

arid

Tropes

A r l t 1970; H u g l o 1982, ' D e b u t s ' . M a n y early Benedicamus chants have not simply the two phrases of text 'Benedicamus d o m i n o . D e o gracias', but longer texts. O f the seventeen examples w h i c h H u g l o dates in the tenth or eleventh centuries, eleven have extended text. A r e these to be regarded

as t r o p e s of a p r e - e x i s t i n g c h a n t , o r p r o s u l a s f o r a m e l i s m a t i c c h a n t , o r are t h e y a n e s p e c i a l l y e l a b o r a t e t y p e of B e n e d i c a m u s , c o m p o s e d e x p r e s s l y i n t h a t w a y , p e r h a p s f o r f e s t a l l i t u r g i e s r a t h e r t h a n ferias? I n m a n y cases w e s h a l l p r o b a b l y n e v e r k n o w , s i n c e t h e y s u r v i v e as unica Some (for e x a m p l e , m a n y of t h o s e in Paris, 161-6). the m e l o d y is Bibliotheque N a t i o n a l e , lat. 8 8 7 , d i s c u s s e d b y A r l t 1970, Darstellungsband, of t h e c o m p o s i t i o n s c a n be

r e g a r d e d as p r o s u l a s i n t h a t

b o r r o w e d f r o m e l s e w h e r e , a n d a n e w t e x t f i t t e d . S e v e r a l K y r i e m e l o d i e s w e r e u s e d as B e n e d i c a m u s c h a n t s i n t h i s w a y , at least f r o m t h e e l e v e n t h c e n t u r y o n w a r d ; so w a s the ' F l o s A l i u s ' m e l o d y , a m e l i s m a f r o m t h e r e s p o n s o r y Stirps Iesse. T h i s is f o u n d w i d e l y , b o t h w i t h the s i m p l e B e n e d i c a m u s t e x t , w i t h ' B e n e d i c a m u s d o m i n o , a l l e l u i a , a l l e l u i a ' ( a n E a s t e r t i d e a d a p t a t i o n ) , a n d also w i t h l o n g e r t e x t s , f o r e x a m p l e : ' B e n e d i c a m u s f l o r i o r t o de s t i r p e Iesse d i e h o d i e r n a , q u a p r o c e s s i t Darstellungsband, 169). pueri (Arlt, 165), pre-existent virga virgo d o m i n o ' (Arlt 1970,

P r o s u l a s e e m s to d e s c r i b e less w e l l t h e t e c h n i q u e of Eia nunc

w h i c h is not c o n s i s t e n t l y s y l l a b i c . A l t h o u g h it m a y be t h e t e x t i n g of a

m e l o d y , it s e e m s less l i k e l y that a B e n e d i c a m u s m e l o d y w i t h o u t e x t e n d e d t e x t lies b e n e a t h t h i s c o m p o s i t i o n , f o r t h e n o n e w o u l d e x p e c t t h e w o r d ' B e n e d i c a m u s ' t o start the piece ( E x . 11.23.10). E x . 11.23.10. Benedicamus chant Eia nunc pueri (Paris, B i b l . N a t . lat. 887, fo. 46 )
r

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W i t h Benedicamus

. . . Verbi iungando

( A r l t , 163) w e h a v e w h a t s e e m s to b e a selfbeen

s u f f i c i e n t B e n e d i c a m u s p h r a s e , to w h i c h a c o u p l e t of e i g h t - s y l l a b l e l i n e s has b e l o c a t e d e l s e w h e r e w i t h o u t Verbi iungando, Benedicamus that . . . Verbi iungando. n e w text,

a d d e d . ( T h e p r o c e s s is r e p e a t e d f o r D e o g r a c i a s . ) If t h e B e n e d i c a m u s m e l o d y w e r e to t h e n o n e m i g h t be t e m p t e d to s p e a k of a t r o p e . A n d i n d e e d it is f o u n d , w i t h a d i f f e r e n t c o n t i n u a t i o n , i n t h e s a m e s o u r c e as f o r T h e s i t u a t i o n is c o m p l i c a t e d , h o w e v e r , b y t h e fact Hodie surrexit, is p l a c e d first, u s i n g the putative this t i m e the

Benedicamus

m e l o d y , t e x t i n g a n d e x t e n d i n g i t , a n d t h e n ' B e n e d i c a m u s d o m i n o ' is

spread over the w h o l e new melody ( E x . 11.23.11). I n f a c t , t h i s e x p l a n a t i o n of h o w t h e c o m p o s i t i o n s arose s e e m s s t r a i n e d . T h e y , a n d E x . 1 1 . 2 3 . 1 0 , a l l c o m e f r o m t h e earliest s u b s t a n t i a l c o l l e c t i o n of s u c h Benedicamus c h a n t s , P a r i s 8 8 7 ( A q u i t a i n e , e l e v e n t h c e n t u r y ) . I w o u l d p r e f e r to b e l i e v e t h a t w e are d e a l i n g w i t h t h e r e s u l t of a l o c a l c a m p a i g n t o e x t e n d t h e festal B e n e d i c a m u s r e p e r t o r y , w h e r e s e v e r a l of t h e p i e c e s h a v e a f a m i l y l i k e n e s s n o t r e a l l y a t t r i b u t a b l e t o a t r o p e o r p r o s u l a t e c h n i q u e . T h e y are n e w l y c o m p o s e d f r o m t h e s t a r t . It is o n l y t h e i r p r o s e texts, i n c o r p o r a t i n g the w o r d s ' B e n e d i c a m u s domino', and their predominantly t r a d i t i o n a l m e l o d i c s t y l e that t e m p t us t o r e l a t e t h e m t o t h e t r o p e r e p e r t o r y . E x . 11.23.11. B e n e d i c a m u s chants (Paris, B i b l . N a t . lat. 887, fos. 4 6 , 46 )
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( x ) Introit,

Offertory,

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Tropes;

Sequence

Tropes

Paul E v a n s 1970 ' E a r l y ' ; M M M A 3 ; C T 1, 3 ; Planchart 1977. T h e e a r l i e s t r e c o r d e d c o m p o s i t i o n of i n t r o i t t r o p e s , if t h e t e s t i m o n y is t r u s t w o r t h y , is b y T u o t i l o of S t G a l l ( k n o w n b e t w e e n 895 a n d 9 1 2 ) , w h o is s a i d b y t h e S t c h r o n i c l e r E k k e h a r d I V (c.990-1060) Hodie Carolini, Ex. cantandus iv. 11.23.14 est 1096; below). i n his youth see also to have c o m p o s e d ('plane rerum iuvenis'MGH, Poetae Latini Gall aevi 80see tenth quarter the i n t r o d u c t o r y verses Sangallensium,

M G H , Scriptores

M a n u s c r i p t sources

for them

survive o n l y f r o m the

c e n t u r y o n w a r d ( P a r i s , B i b l i o t h e q u e N a t i o n a l e , l a t . 1240, A q u i t a i n e , s e c o n d

of t h e t e n t h c e n t u r y , is t h e e a r l i e s t ) , b u t t h e r e s e e m s l i t t l e r e a s o n t o d o u b t t h a t t h e y were w e l l k n o w n i n the n i n t h . It s h o u l d nevertheless be noted that a l m o s t n o i n t r o i t t r o p e s w e r e k n o w n i n b o t h e a r l y ' w e s t e r n ' a n d e a r l y ' e a s t e r n ' s o u r c e s , s o t h a t i t is n o t p o s s i b l e to postulate a c o m m o n basic layer o n w h i c h later d i v e r s e c o l l e c t i o n s were built. Introit tropes were w r i t t e n i n great numbers during the tenth a n d eleventh churches, centuries, offertory a n d c o m m u n i o n tropes i n smaller quantities ( m a n y

i n c l u d i n g most Italian ones, appear to have ignored offertory a n d c o m m u n i o n tropes a l m o s t e n t i r e l y ) . T h e r e p e r t o r y is v a s t . T a k i n g i n d i v i d u a l t r o p e v e r s e s as u n i t s , t h e r e are 1 , 0 4 4 f o r t h e i n t r o i t , 2 5 0 f o r t h e o f f e r t o r y , a n d 113 f o r t h e c o m m u n i o n i n C T I a n d I I I , t h a t i s , f o r t h e C h r i s t m a s a n d E a s t e r p a r t s of t h e c h u r c h y e a r . T h e r e is a decline i n sources f r o m the twelfth century, and very few f r o m the thirteenth century o r l a t e r . T h i s i s c r i t i c a l i n s o m e areas, s i n c e v e r y few n o r t h F r e n c h a n d G e r m a n t r o p e
r

c o l l e c t i o n s w i t h staff n o t a t i o n h a v e s u r v i v e d . T r o p e s f o r the introit, offertory, a n d c o m m u n i o n (and the other chants discussed b e l o w i n s e c t i o n s ( x i ) a n d ( x i i ) ) take t h e f o r m of e x t r a verses p l a c e d b e f o r e o r a m o n g the phrases of t h e m a i n c h a n t . T h e a r r a n g e m e n t in Table 1 1 . 2 3 . 1 is r e a s o n a b l y t y p i c a l , f o r t h e E a s t e r i n t r o i t Resurrexi, i n the tropers f r o m W i n c h e s t e r , C a m b r i d g e , and

C o r p u s C h r i s t i C o l l e g e 4 7 3 a n d O x f o r d , B o d l e i a n L i b r a r y , B o d l e y 7 7 5 (late t e n t h a n d e a r l y e l e v e n t h c e n t u r y r e s p e c t i v e l y ) ( f o r f u l l t e x t s see F r e r e 1 8 9 4 , Winchester capitals (cf. St G a l l , P l a n c h a r t 1 9 7 7 ) . T h e t r o p e i n c i p i t s a r e g i v e n i n l o w e r case, m a i n c h a n t i n c i p i t s i n S t i f t s b i b l i o t h e k 376 i n G a u t i e r 1886, 139). A l t h o u g h i n the Some sources (for example, P a r i s 1118) have rather the W i n c h e s t e r s o u r c e s t h e s e v e n t e e n v e r s e s are l a i d o u t i n t h i s s y t e m a t i c w a y , t h a t is n o t t h e case i n a l l s o u r c e s . c h a r a c t e r o f a n a n t h o l o g y . A n d t h e s t y l i s t i c d i s p a r i t y b e t w e e n t h e t r o p e v e r s e s so neatly a r r a n g e d b y t h e W i n c h e s t e r redactor shows that logic has b e e n i m p o s e d u p o n w h a t i s a n u n s t a b l e r e p e r t o r y . S o m e of t h e verses are h e x a m e t e r s : t h e g r o u p f o r t h e s e c o n d s i n g i n g of t h e i n t r o i t b e g i n n i n g Ecce pater, v e r s e Fregit Virgine inferni, progenitus. t h e n the trope f o r the first p s a l m a n d t h e n the g r o u p for the second s i n g i n g of the i n t r o i t b e g i n n i n g

T r o p e v e r s e s i n p o e t i c m e t r e o f o n e k i n d o r a n o t h e r are n o t at a l l u n c o m m o n . H e x a m e t e r s d o m i n a t e t h e field ( i n C T I , 4 0 - 2 it is s t a t e d t h a t o v e r 2 0 0 o f t h e 7 6 6 v e r s e s i n t h e v o l u m e are h e x a m e t e r s ) , examples i n sapphics. E x . 1 1 . 2 3 . 1 2 i l l u s t r a t e s s o m e of t h i s v a r i e t y . It is a t r a n s c r i p t i o n of t h e t r o p e s f o r t h e i n t r o i t In medio ecclesiae, f o r S t J o h n t h e E v a n g e l i s t ' s D a y (27 D e c e m b e r ) . A t r o p e d verses v e r s i o n of this i n t r o i t has already b e e n g i v e n above ( E x . 11.23.1), w h e r e S t G a l l a n d P i s t o i a m a n u s c r i p t s h a d a n i n t r o d u c t o r y m e t r i c a l verse f o l l o w e d b y s e v e r a l w h i c h s e e m t o h a v e o r i g i n a t e d as m e l i s m a t i c e x t e n s i o n s of t h e i n t r o i t m e l o d y . T h e W i n c h e s t e r c o l l e c t i o n of verses is q u i t e d i f f e r e n t . T h e r e are a l m o s t as m a n y v e r s e s as for t h e E a s t e r i n t r o i t above, except that the d o x o l o g y and the s e c o n d p s a l m verse have n o t r o p e . T h e first t r o p e is a r h y m i n g p a i r of t r o c h a i c fifteen-syllable l i n e s ; v e r s e 5 is a a n d elegiac d i s t i c h s , p e n t a m e t e r s , a n d even discusses v e r s e s l i k e A m b r o s i a n h y m n s t r o p h e s are also t o b e f o u n d . S t o t z ( 1 9 8 2 )

T a b l e 11.23.1. Tropes for the Easter introit R e s u r r e x i

in Winchester sources

Frope verse

M a i n chant RESURREXI POSUISTI MIRABILIS ALLELUIA DOMINE RESURREXI POSUISTI MIRABILIS GLORIA PATRI RESURREXI POSUISTI MIRABILIS INTELLEXISTI RESURREXI POSUISTI MIRABILIS ALLELUIA

(Introit)

Psallite regi magno D o r m i v i pater Ita pater Q u i abscondisti E n ego verus sol Ecce pater V i c t o r ut ad caelos Q u o genus h u m a n u m Fregit inferni portas Virgine progenitus Quern non deservi U t per me Exsurge gloria mea Postquam factus homo In regno superno L a u d i b u s angelorum C u i canunt angeli

(Psalm verse) (Introit)

(Doxology) (Introit)

( P s a l m verse) (Introit)

h e x a m e t e r . E a c h t r o p e o r set of t r o p e verses h a s i t s o w n h i s t o r y , p a r t of w h i c h c a n b e s u r m i s e d f r o m t h e s o u r c e s k n o w n f o r these c o m p o s i t i o n s (see C T I a n d P l a n c h a r t 1 9 7 7 ) . T h e s i t u a t i o n m a y b e s u m m a r i z e d as f o l l o w s . T r o p e verses 1 - 3 are f o u n d d e p l o y e d i n t h e s a m e w a y i n s o u r c e s f r o m a l l o v e r E u r o p e , some of the notable exceptions b e i n g t h e tropers f r o m S t G a l l , S t E m m e r a m at R e g e n s b u r g , a n d B e n e v e n t o . Trope verse 4 is u n i q u e to E n g l a n d , a p p e a r i n g o n l y i n t h e t w o W i n c h e s t e r eleventh possible. a n d also i n m a n u s c r i p t s a n d i n L o n d o n , B r i t i s h L i b r a r y , C o t t o n C a l . A . x i v (early c e n t u r y ) . N o t r a n s c r i p t i o n i n t o m o d e r n n o t a t i o n is t h e r e f o r e T r o p e verses 5 - 7 a p p e a r i n o n l y a f e w F r e n c h a n d G e r m a n s o u r c e s ,

several I t a l i a n ones. T h e t w o Italian tropers f r o m the R a v e n n a area ( P a d u a , B i b l i o t e c a C o m u n a l e A . 4 7 a n d M o d e n a , B i b l i o t e c a C a p i t o l a r e 0 . 1 . 7 ) a d d t w o v e r s e s t o t h e set, b u t c a n be used i n c o n j u n c t i o n w i t h Paris, B i b l i o t h e q u e N a t i o n a l e , lat. 1084 (the o n l y A q u i t a n i a n t r o p e r t o b e of h e l p ) to suggest p i t c h e s f o r t h e W i n c h e s t e r neumes. Biblioteca T r o p e v e r s e s 8 - 1 0 are f o u n d i n F r e n c h s o u r c e s o n l y , a p a r t f r o m I v r e a ,

C a p i t o l a r e 6 0 ( w h i c h i n a n y case has a h i g h p r o p o r t i o n of F r e n c h m a t e r i a l ) . P r o v i n s , B i b l i o t h e q u e M u n i c i p a l e 12 ( f r o m C h a r t r e s , t h i r t e e n t h c e n t u r y ) a n d P a r i s , B i b l i o t h e q u e Nationale, n.a.l. 1235 ( f r o m Nevers, twelfth century) are m o s t convenient for deriving pitches.

E x . 11.23.12. T r o p e verses Ecce iam lohannes, for i n t r o i t In medio ecclesie /

.

etc. ( O x f o r d , B o d l . L i b . B o d l e y 7 7 5 , f o . 3 5 )
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Principal secondary sources for the trope verses: Provins Bibliotheque Municipale 12 (1-2, 8-10); Paris Bibliotheque Nationale lat.1084 (3, 5-7); Rome Biblioteca Casanatense 1741 (11-13)

T r o p e verses 1 1 - 1 3 s u r v i v e o u t s i d e E n g l a n d o n l y i n N o n a n t o l a m a n u s c r i p t s . It is fortunate that these have diastematic notation. If o n e w e r e t o g u e s s at t h e p l a c e o f o r i g i n o f t h e s e v e r s e s , o n e m i g h t s u g g e s t n o r t h F r a n c e f o r verses 1 - 3 , W i n c h e s t e r itself f o r 4, n o r t h F r a n c e a g a i n f o r 5 - 7 a n d F r a n c e f o r 8 - 1 0 ; f o r 1 1 - 1 3 it seems d i f f i c u l t to m a k e e v e n a g u e s s . T h i s is s p e c u l a t i o n . W h a t

is m o r e i m p o r t a n t is t h a t it i n d i c a t e s t h a t t h e W i n c h e s t e r r e d a c t o r p r o b a b l y h a d m o r e t h a n o n e e x e m p l a r t o h a n d ; t h e s e i n t h e i r t u r n p r o b a b l y d e r i v e d f r o m a v a r i e t y of e x e m p l a r s ; m o r e o v e r , n e w c o m p o s i t i o n s w o u l d c o n t i n u a l l y e n t e r t h e r e p e r t o r y , as t h e y d i d at W i n c h e s t e r i t s e l f ( v e r s e 4 ) . T h e r e s u l t is a f a s c i n a t i n g v a r i e t y of 'case histories'. Winchester research; (Planchart tropes; 1977 is a m a g i s t e r i a l d i s c u s s i o n of t h e case h i s t o r i e s o f t h e Planchart 1981 c o n s i d e r s t h e m e t h o d s a n d p r o b l e m s of s u c h 1977, i i . 1 0 4 - 1 0 o n the v e r s i o n of E x . 11.23.12 i n

see a l s o P l a n c h a r t

H u s m a n n 1959, 1 3 8 - 9 . ) C o m p a r i s o n of almost a n y t w o sources for the same trope reveals n u m e r o u s s m a l l v a r i a n t s . T h e s e a r e n o t u s u a l l y o f m a j o r m u s i c a l i m p o r t a n c e , e x c e p t i n so f a r as t h e y suggest that the r e c o r d e d v e r s i o n s rarely seem to be c o p i e d f r o m a n y a u t h o r i t a t i v e ' o r i g i n a l ' e x e m p l a r . Instead, the way i n w h i c h the redactor of the source u n d e r s t a n d s a t r o p e , h e a r s it w i t h h i s i n n e r e a r , p e r f o r m s it i n i t s d u e s e a s o n , is m o r e i m p o r t a n t at t h e m o m e n t t h e c o p y is m a d e t h a n e x a c t a d h e r e n c e t o a n e x e m p l a r . S o m e t i m e s t h e d e v i a t i o n b e t w e e n s o u r c e s is so w i d e as t o s u g g e s t t h a t t h e t r o p e is b e i n g c o p i e d w i t h o u t a n y r e f e r e n c e to a n e x e m p l a r (see M M M A m a y s p e a k o f t w o d i f f e r e n t m e l o d i e s (see M M M A 1964, sometimes 3, 39, 123, o r a n e x t r e m e case, 2 9 4 ) . A n d o c c a s i o n a l l y t h e m u s i c of t w o d i f f e r e n t s o u r c e s w i l l b e so d i s s i m i l a r t h a t o n e 3, 197, also t h e s t u d i e s b y W e i s s ' s i m i l a r ' a n d ' d i f f e r e n t ' are 1982 ' P r o b l e m ' , a n d 1 9 6 7 ) . T h e g r e y areas b e t w e e n

a l i t t l e h a r d t o d e f i n e ( f o r a p e n e t r a t i n g d i s c u s s i o n see T r e i t l e r

' O b s e r v a t i o n s ' ) . O c c a s i o n a l l y s i m i l a r m u s i c is u s e d f o r d i v e r g e n t t e x t s ( M M M A 3 , 6 2 ) . T h e w a y s i n w h i c h t r o p e verses i n t r o d u c e , a m p l i f y , e x p l a i n t h e c h a n t s to w h i c h they are attached in numerous have been well surveyed b y H u s m a n n (1959), Trope) tropes. Stablein their (1963, role as ' V e r s t a n d n i s ' ) , P a u l E v a n s ( 1 9 7 0 , Early articles on individual a n d S t e i n e r ( ' T r o p e ' , NG), H u s m a n n emphasized as w e l l as

i n v i t a t i o n s to b e g i n the s i n g i n g of a c h a n t , c o m m e n t i n g that this w a s s o m e t h i n g they s h a r e d w i t h m a n y C h r i s t i a n l i t u r g i c a l f o r m s , e a s t e r n as w e l l as w e s t e r n ( t h o s e f o r t h e G l o r i a , S a n c t u s , a n d A g n u s ate discussed i n the next s u b s e c t i o n ; even t h e T e D e u m w a s g i v e n a n i n t r o d u c t o r y t r o p e at S t G a l l : see G a u t i e r 1 8 8 6 , 1 7 0 ) . M u l l e r ( 1 9 2 4 - 5 , 5 6 6 - 7 ) p o i n t e d o u t t h e i r c l o s e s i m i l a r i t y i n t h i s r e s p e c t t o t h e ( s p o k e n ) p r e f a c e s at t h e b e g i n n i n g of the mass of the G a l l i c a n rite. S o m e B y z a n t i n e c o u n t e r p a r t s are discussed by S t r u n k ( 1 9 7 0 ) . M u s i c a l relations b e t w e e n trope a n d base c h a n t h a v e also E v a n s , a n d Sevestre ( C T I a n d 1980). S o m e been discussed by Stablein, of the more sometimes

o b v i o u s p o i n t s m a y be i l l u s t r a t e d w i t h reference once again to E x . 11.23.12. I n t r o i t s c u s t o m a r i l v u s e verses d r a w n f r o m t h e B o o k o f P s a l m s , o r another O l d Testament book. Since these c o n t a i n no direct Testament references to N e w

e v e n t s , a l l c o n n e c t i o n s b e t w e e n a n i n t r o i t t e x t a n d t h e d a y o n w h i c h it is

s u n g C h r i s t m a s , E a s t e r , S t Peter's D a y , or w h a t e v e r a r e b y s p e c i a l i n f e r e n c e (it was c e n t r a l to C h r i s t i a n belief that the O l d T e s t a m e n t c o n t a i n e d n u m e r o u s references to t h e c o m i n g o f C h r i s t ) . A s f a r as t h e t e x t is c o n c e r n e d , E x . 11 .23.12 is t y p i c a l o f m a n y t r o p e s i n t h a t it e s t a b l i s h e s a n u n a m b i g u o u s c o n n e c t i o n b e t w e e n i n t r o i t t e x t a n d f e a s t - d a y . T h e i n t r o i t is a d a p t e d f r o m E c c l e s . 15: 5 - 6 i n the A p o c r y p h a , verses w h i c h i n t h e i r o r i g i n a l c o n t e x t h a d n o t h i n g t o d o w i t h p r e a c h i n g t h e G o s p e l . O n c e p l a c e d at

t h e s t a r t of m a s s f o r S t J o h n

the E v a n g e l i s t , they i m m e d i a t e l y take o n a special

significance, a n d for the believer they b e c o m e one m o r e a m o n g the m y r i a d threads w o v e n i n t o t h e g r e a t d e s i g n i n w h i c h t h e c o m i n g of C h r i s t w a s t h e c u l m i n a t i o n of a l l t h e p r e v i o u s h i s t o r y of m a n k i n d . B u t t h e t r o p i s t goes b e y o n d t h i s i n f e r r e d m e a n i n g o f t h e i n t r o i t , a n d s p e l l s o u t i n c l e a r t e r m s w h o s e f e a s t - d a y it i s , r e f e r r i n g also t o J o h n ' s r o l e as e v a n g e l i s t a n d as t h e b e l o v e d d i s c i p l e t o w h o m C h r i s t o n t h e c r o s s e n t r u s t e d h i s mother Mary. find the FFFC A l t h o u g h t h e t r o p e v e r s e s are m u s i c a l l y c o m p a t i b l e w i t h t h e i n t r o i t , t h e y c a n n o t b e s a i d t o m i r r o r its s t y l e to a n y s i g n i f i c a n t e x t e n t . N o w h e r e i n t h e m d o w e r e i t e r a t e d Fs c a d e n c e o f ' i n t e l l e c t u s ' n o r t h e r i s e ac ( r e p e r c u s s i v e n o t e s ) of t h e i n t r o i t a n t i p h o n , n o r d o t h e y e c h o t h e

at ' e u m ' , a n d i n t h e p s a l m v e r s e s . T h e w a y i n melodies (1963, which the as

w h i c h b o t h i n t r o i t a n d t r o p e s s k i p o v e r E is s i m p l y a c h a r a c t e r i s t i c of c h a n t

g e n e r a l l y , not s o m e t h i n g w h i c h l i n k s these i n any significant w a y . S t a b l e i n The texts of the trope verses in Ex. 11.23.12 are t y p i c a l of many

' V e r s t a n d n i s ' , 9 1 ) s a i d t h a t t r o p e s w e r e a s o r t of ' p s e u d o - ' o r ' n e o - G r e g o r i a n ' c h a n t . c o m p l e m e n t , b u t d o n o t l e a d s t r o n g l y i n t o t h e i n t r o i t t e x t at a n y p o i n t . O t h e r t e x t s d o l e a d o n , i n s u c h a w a y t h a t t h e i r t e x t s are i n n o w a y s e l f - s u f f i c i e n t . F o r e x a m p l e , t r o p e set Deus follows: D e u s pater f i l i u m s u u m hodie misit i n m u n d u m , de q u o gratulanter d i c a m u s c u m p r o p h e t a : ( C T I, 78) PUER NATUS EST NOBIS ET EST NOBIS.
F I L 1 U S

pater

filium

suum

f o r t h e C h r i s t m a s i n t r o i t Puer

natus

est

reads

T o d a y G o d the F a t h e r sent his son into the w o r l d , wherefore we s i n g rejoicing w i t h the p r o p h e t : UNTO US A CHILD IS BORN, AND UNTO US A SON IS GIVEN.

DATUS

T h i s h a p p e n s a l s o to b e o n e of m a n y t r o p e s i n w h i c h a s t r o n g m u s i c a l l i n k s e e m s to exist b e t w e e n t r o p e a n d m a i n c h a n t . Several tropes for this i n t r o i t b e g i n w i t h the s a m e m e m o r a b l e r i s e of a fifth as the i n t r o i t i t s e l f (cf. M M M A also Stablein 1963, 'Verstandnis' for d i s c u s s i o n of 3, 2 9 1 - 3 , 299, 3 0 2 - 3 ; other examples, see and several

c o m m e n t s i n W e i s s 1 9 6 5 ) . E x . 1 1 . 2 3 . 1 3 i l l u s t r a t e s t h i s . A n d y e t , as T r e i t l e r ( 1 9 8 2 , ' O b s e r v a t i o n s ' , 92) rise of a fifththe has p o i n t e d o u t , s u c h a m e l o d i c p r o f i l e is c o n v e n t i o n a l sapientiae, Oculi mei

y

among and Ecce and

m o d e 7 m e l o d i e s (cf. i n t r o i t s Aqua t h e Deus pater iam Christus

Respice

domine

for the same natus est

w h o l e t e x t u a l a n d m e l o d i c r e l a t i o n s h i p b e t w e e n Puer 1982).

t r o p e set is e x p l o r e d i n d e p t h b y A r l t (melody 'Ostende

A l t o g e t h e r e x c e p t i o n a l s e e m s to b e t h e use of a s e q u e n c e , t h e s h o r t a p a r a l l e l ( m i n o r ) ' , as a n i n t r o i t t r o p e (see Strehl 1964 Weiss 1965).

O n e set of i n t r o i t t r o p e s (if t h a t is w h a t o n e s h o u l d a l l t h e m ) s t a n d s a p a r t f r o m t h e main chant. These are the Versus ante officium, relatively long compositions, In Cambrai, pre-mass c o n s i s t i n g of s e v e r a l verses w r i t t e n for alternating sets of s i n g e r s .

B i b l i o t h e q u e M u n i c i p a l e 75 ( f r o m S a i n t - V a a s t at A r r a s , e a r l y e l e v e n t h c e n t u r y ) s u c h p i e c e s are l a b e l l e d ' A d p r o c e s s i o n e m ' , i m p l y i n g t h a t t h e y w e r e p a r t o f t h e procession rather than the mass i n t r o i t .

E x . 11.23.13. T r o p e verse Deus pater

filnun

suum ( P a n s , B i b l . N a t . L a t . 1119, f o . 5 ) a n d
r

start of i n t r o i t Puer natus est ( P a r i s , B i b l . N a t . lat. 1132, f o . I T )

De-us

pater

fi-li-um

su - um ho - di-ae

misit in mundum

de quo gratu-lanter di - c a - m u s cum prophe-ta

P U - E R N A T U S EST NO-BIS

E T F I - L I - U S D A T U S EST NO-BIS.

E x . 11.23.14. I n t r o d u c t o r y verses Hodie cantandus ( G r a z , U n i v . - B i b l . 807, fos. 167 , 14 )

r r

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et

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PUER

N A T U S EST NO - BIS

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D A T U S EST NO - BIS

T h e m o s t f a m o u s of t h e m is o n e a s c r i b e d to T u o t i l o of S t G a l l , Hodie est, m o d e c o m p o s i t i o n w h i c h c o n t r a s t s s t r i k i n g l y w i t h t h e G - m o d e Puer natus est (see (1966, t h e d i s c u s s i o n of these v e r s u s b y P l a n c h a r t 1977, ' A l t r o m i s c h e ' ) w e n t so far as to s u g g e s t natus est, natus

cantandus est. Some Puer while

w h i c h h a s t h r e e verses i n the o r d e r ' S t a t e m e n t Q u e s t i o n A n s w e r ' . T h i s is a D -

w r i t e r s h a v e t h u s b e e n l e d to q u e s t i o n its f u n c t i o n as a d i r e c t i n t r o d u c t i o n to i . 234-6), Stablein

t h a t it w a s d e s i g n e d to

i n t r o d u c e t h e O l d R o m a n v e r s i o n of Puer

w i t h w h i c h it is t o n a l l y m o r e

c o m p a t i b l e . ( T h i s i m p l i e d that w h e n T u o t i l o c o m p o s e d the piece, O l d R o m a n chant h a d n o t b e e n f u l l y r e p l a c e d b y G r e g o r i a n at S t G a l l , a n i d e a t h a t o t h e r s c h o l a r s h a v e been somewhat 19). queritis in sepulchro and praesid, are d i s c u s s e d b e l o w , I I . 2 5 . i i a n d V I . 6 . v i i i r e s p e c t i v e l y . ) reluctant to accept.) Ex. 11.23.14 is a t r a n s c r i p t i o n of Hodie cantandus PalMus Gregorius f r o m G r a z , U n i v e r s i t a t s b i b l i o t h e k 807 ( K l o s t e r n e u b u r g , t w e l f t h c e n t u r y ;

( T w o o t h e r f a m o u s sets of i n t r o d u c t o r y v e r s e s , Quern

A r a t h e r s m a l l r e p e r t o r y of s h o r t i n t r o d u c t o r y t r o p e s f o r t h e s e q u e n c e s u r v i v e s i n the tenth- a n d eleventh-century A q u i t a n i a n tropers ( E v a n s 1968).

(xi)

Gloria,

Sanctus,

and Agnus

Tropes

R o n n a u 1967, Tropen\ Falconer 1989; C T 4 and 7. L i k e those discussed i n section (x), tropes for the G l o r i a , Sanctus, a n d A g n u s consist o f c o m p l e m e n t a r y verses, s o m e s e r v i n g as i n t r o d u c t i o n s t o t h e s i n g i n g of t h e c h a n t , s o m e i n t e r p o s e d b e t w e e n p h r a s e s of t h e c h a n t . M o s t of t h e i r s p e c i a l f e a t u r e s f o l l o w naturally f r o m the different chants they c o m p l e m e n t . R o n n a u catalogued over the ninth century; and H u c b a l d of S a i n t - A m a n d ( d . 9 3 0 ) is c r e d i t e d w i t h 100 the G l o r i a t r o p e s ( o r sets of t r o p e v e r s e s ) , of w h i c h at least o n e p r o b a b l y d a t e s b a c k i n t o c o m p o s i t i o n of a n o t h e r . A l t h o u g h the largest c o l l e c t i o n of G l o r i a t r o p e s is to be f o u n d i n a t w e l f t h - c e n t u r y m a n u s c r i p t , M a d r i d , B i b l i o t e c a N a c i o n a l 19421 f r o m C a t a n i a i n S i c i l y , t h e y s e e m to h a v e p a s s e d o u t of use i n m o s t c e n t r e s b y t h e t h i r t e e n t h c e n t u r y , w i t h t h e e x c e p t i o n of o n e o r t w o r e l a t i v e l y m o d e r n c o m p o s i t i o n s ( s u c h as Spintus alrne orphanorum, f o r the B V M ) . S a n c t u s et a n d A g n u s tropes may i n c l u d e some

e q u a l l y e a r l y c o m p o s i t i o n s ( o n the earliest A g n u s t r o p e see A t k i n s o n 1977) a n d g r o u p s of n e w c o m p o s i t i o n s , e s p e c i a l l y f o r t h e B V M , c o n t i n u e d t o a p p e a r e v e n late i n t h e M i d d l e A g e s , m a n y f o l l o w i n g the fashion for texts i n r e g u l a r r h y m e a n d r h y t h m ( s o m e e a r l y G l o r i a , S a n c t u s , a n d A g n u s t e x t s are w r i t t e n i n h e x a m e t e r s , d i s t i c h s , e t c . ) . F r o m t h e c a t a l o g u e s of T h a n n a b a u r ( 1 9 6 2 ) a n d S c h i l d b a c h ( 1 9 6 7 ) a n d o t h e r r e s e a r c h , o v e r 2 5 0 S a n c t u s t r o p e s a n d o v e r 140 A g n u s t r o p e s are k n o w n ( o n e o r t w o t r o p e s are c o m m o n t o b o t h c a t e g o r i e s ) . W h i l e h a r d l y a n y i n t r o i t t r o p e verses ' m i g r a t e d ' , as it w e r e , f r o m o n e i n t r o i t t o a n o t h e r , m a n y G l o r i a t r o p e verses are f o u n d w i t h m o r e t h a n o n e G l o r i a m e l o d y . A n d i n d i v i d u a l v e r s e s are a s s o c i a t e d n o w w i t h one set of t r o p e v e r s e s , n o w w i t h a n o t h e r set. O n e s u c h v e r s e w a s u s e d a b o v e i n E x . 1 1 . 2 3 . 6 , a n d it w a s also r e m a r k e d t h e r e t h a t a

s l i g h t t o n a l d i s p a r i t y h a d r e s u l t e d f r o m the i n t r o d u c t i o n of m a t e r i a l o r i g i n a l l y d e s i g n e d f o r G l o r i a m e l o d y 39 i n t o G l o r i a m e l o d y 5 6 . sanctorum, I n f a c t , the w h o l e t r o p e set O gloria i n o n e a r r a n g e m e n t or a n o t h e r , is f o u n d w i t h G l o r i a 3 9 , a n d its use w i t h

G l o r i a 5 6 , as i n t h e C a t a n i a m a n u s c r i p t u s e d f o r E x . I I . 2 3 . 6 , is a p e c u l i a r i t y of a f e w E n g l i s h a n d N o r m a n s o u r c e s ; i n N o n a n t o l a it a p p e a r s w i t h G l o r i a 11 ( V a t i c a n X I V ) . R o n n a u ( 1 9 6 7 , Tropen, 84-6 and 2 4 6 - 9 , w i t h transcriptions) i n t r o d u c e d the term ' W a n d e r v e r s ' ( ' w a n d e r i n g verse') to d e s c r i b e s u c h a verse w h e n it w a s u s e d i n G l o r i a 39 i n t h e o l d e s t s o u r c e s : he b e l i e v e d n o t o n l y t h a t G l o r i a 39 w a s t h e o l d e s t m e l o d y i n t h e r e p e r t o r y , b u t also t h a t t r o p e v e r s e s a s s o c i a t e d w i t h it i n the o l d e s t s o u r c e s a n d f o u n d a m o n g s e v e r a l d i f f e r e n t sets of t r o p e v e r s e s w e r e a s o r t of ' o r i g i n a l ' l a y e r of t r o p e v e r s e s , w h i c h w e r e u s e d f r e e l y w i t h G l o r i a 39, to be j o i n e d l a t e r b y v a r i o u s sets of o t h e r v e r s e s . B u t it r e m a i n s u n c l e a r w h e t h e r t h i s is c o r r e c t , o r w h e t h e r t h e s e verses are n o t s i m p l y m o r e m o b i l e t h a n m o s t i n a g e n e r a l l y u n s t a b l e r e p e r t o r y , b e c a u s e t h e y are a m o n g t h e o l d e s t , a n d t h e r e f o r e h a d l o n g e r o p p o r t u n i t y to t r a v e l . S o m e o f t h e s e p o i n t s m a y be e x e m p l i f i e d i n E x . 11 .23.15, w h i c h is a t r a n s c r i p t i o n of the t r o p e set O laudabilis rex as i t a p p e a r s i n P a r i s , complete trope Table Bibliotheque

N a t i o n a l e , l a t . 10508 ( f r o m S a i n t - E v r o u l t i n N o r m a n d y , t w e l f t h c e n t u r y ) . T h e w e l l . A n i n k l i n g of t h e c o m p l e x i t y of its t r a n s m i s s i o n m a y be g a i n e d f r o m

is f o u n d i n s o u r c e s r i g h t a c r o s s F r a n c e a n d i n N o r t h S p a i n , I t a l y , a n d E n g l a n d as I I . 2 3 . 2 . T h i s s h o w s h o w t h e veses are a r r a n g e d i n P a r i s 1 0 5 0 8 , i n O x f o r d , B o d l e i a n L i b r a r y , B o d l e y 775 ( W i n c h e s t e r , e a r l y e l e v e n t h c e n t u r y ) , P a r i s 1240 ( t h e o l d e s t of a l l sources, w h i c h has t w o v e r s i o n s , at L i m o g e s , f r o m L i m o g e s , tenth century), century). A s one and Paris The 1121 given latest (Saint-Martial early eleventh might expect,

R o n n a u ' s c r i t e r i a , P a r i s 1240

has b y f a r t h e m o s t ' w a n d e r i n g v e r s e s ' .

s o u r c e , P a r i s 1 0 5 0 8 , has o n l y o n e . T h e n u m b e r of verses i n P a r i s 1240 is u n u s u a l l y l a r g e . T h e t a b l e g i v e s a g o o d i d e a of t h e m o b i l i t y of t h e verses, a n d t h e d i f f e r e n t v e r s e s w h i c h m a k e u p the set i n e a c h s o u r c e . S i m p l y s a y i n g that a s o u r c e has t h e G l o r i a t r o p e O laudabilis 'constitutive O laudabilis rex (or a n y o t h e r t r o p e ) t h e r e f o r e s i m p l i f i e s m a t t e r s r a t h e r d r a s t i c a l l y . R o n n a u c a l l e d the f o u r verses at the b e g i n n i n g w h i c h are c o m m o n to a l l v e r s i o n s verses'. rex is a G l o r i a t r o p e w h i c h m a k e s use of m u s i c a l p h r a s e s i d e n t i f i e d b y E x . 14 is an e x a m p l e of a c e n t o i n t h e t r u e r of d i s t i c h s t a k e n from Venantius

R o n n a u ( 1 9 6 7 , 2 2 2 - 3 8 ) as f o r m u l a s u s e d i n s e v e r a l o t h e r t r o p e s as w e l l ( c a l l e d b y h i m ' C e n t o - T r o p e n ' ; S t a b l e i n , ' T r o p u s ' , MGG, sense of t h e word, since F o r t u n a t u s ' p o e m Temporaflorigero). its text is c o m p o s e d

I n E x . 11 .23.15 the p h r a s e m a r k e d ' b ' is o n e of

these. T h e others do not correspond exactly w i t h R o n n a u ' s d e m o n s t r a t i o n , but show h o w a n u m b e r of o t h e r m e l o d i c i d e a s r e c u r : 'b' describes a double curve abcbaGFGa',

' x ' m o v e s f r o m a to F a n d b a c k a g a i n , c o r r e s p o n d i n g to the l a t t e r h a l f of ' b ' ; it is o m n i p r e s e n t i n the G l o r i a m e l o d y itself; i n ' y ' bb takes the p l a c e of a as r e c i t i n g t o n e , f a l l i n g to F a n d r e t u r n i n g t o bb or a;

u s u a l l y it a p p e a r s i n a b r i e f f o r m baGaGFa; approached V FGbb]

occasionally the r e c i t i n g note is

is a c o m m o n m o d e 3 o p e n i n g , h e r e a w h o l e t o n e l o w e r recitation esto have

M u c h o f t h e t i m e , h o w e v e r , o n e h a s t h e i m p r e s s i o n of a h i g h l y o r n a t e a r o u n d a o r bb nostri
y

t o o fluid f o r c o n v i n c i n g l a b e l l i n g . S i g n i f i c a n t l y , t h e t w o t r o p e v e r s e s in tern's ( T 6 a n d T 8 ) . f o r w h i c h t r o p e verses were p r o v i d e d , 1984). est leticie (in Glorias

w h i c h c a n n o t b e e x p l a i n e d i n t h i s w a y a r e t w o u n i q u e to P a r i s 1 0 5 0 8 : Misertus a n d Nobis Like several other genres

i n t r o d u c t o r y v e r s e s w h i c h s t a n d apart f r o m t h e rest (see K e l l y ,

A m o n g a n interesting g r o u p of rather a b n o r m a l c o m p o s i t i o n s n o t i c e d b y S t e p h a n ( 1 9 5 6 ) i s a G l o r i a w h o s e t r o p e verses a r e t h e C h r i s t m a s s o n g Dies Prague, U n i v e r s i t y L i b r a r y V I . C . 20, a the song Surrexit Christ us hodielChrist fifteenthist to s i x t e e n t h - c e n t u r y as t r o p e
v

song-book

f r o m P r a g u e ) , b u t t h i s is e v i d e n t l y a late s p o r t . T h e s a m e i s t r u e of t h e S a n c t u s w i t h erstanden
v

(in Erlangen,

Universitatsbibliothek 464, a

fifteenthHcentury

south G e r m a n miscellany). A pair of of L i m o g e s , B i b l i o t h e q u e

f u l l - b l o w n vernacular tropes were added o n fos. 2 9 9 - 3 0 0 t r o p e Beau's peres a n d t h e A g n u s t r o p e Cist aigneaus.

M u n i c i p a l e 2 (a g r a d u a l of t h e f o u r t e e n t h c e n t u r y f r o m F o n t e v r a u l t ) : t h e S a n c t u s ( T h e manuscript's compiler e v i d e n t l y h a d a special interest i n v e r n a c u l a r chants, f o r t w o F r e n c h epistle farses appear elsewhere i n the sourcesee section (xii) below.) E v e n more e x t r a o r d i n a r y t h a n t h e s e i s t h e u s e o f a G e r m a n d a n c e ( i f S t e p h a n is r i g h t ) as a t e x t l e s s trope, apparently notated mensurally i n E r l a n g e n 464. Sanctus

M o s t Sanctus and A g n u s tropes (edited b y Iversen i n C T 7 a n d 4 respectively) f o l l o w the pattern of i n t r o d u c t o r y intercalatory verses. T h e repertory of p r o s u l a s f o r t h e H o s a n n a o f t h e S a n c t u s has a l r e a d y b e e n m e n t i o n e d a b o v e ( v i i ) . B e c a u s e o f t h e w a y i n w h i c h t h e r e c i t i n g of t h e eucharistic p r a y e r n o r m a l l y leads w i t h o u t a b r e a k i n t o t h e s i n g i n g of the Sanctus, i n t r o d u c t o r y t r o p e verses f o r t h e S a n c t u s are rather f e w ( T h a n n a b a u r 1962, s i g n a l s o n l y f o u r o u t o f o v e r 2 4 0 t r o p e s ; see S t e i n e r , ' T r o p e ' , f o r e x a m p l e s of b o t h Sanctus and A g n u s i n t r o d u c t i o n s ) . E x . 11.23.16 has s u p p l e m e n t a r y trope verses f o r the three ' S a n c t u s ' and the turns twelfth t w o t y p e s o f t r o p e is n a t u r a l l y v e r y m a r k e d , t h o u g h b o t h of phrase century), carried records over both from the main chant. acclamations, to contain for the gratia H o s a n n a prosulas i n sequence f o r m . T h e difference i n musical character of seem T h e source used tua

t r a n s c r i p t i o n , M a d r i d , B i b l i o t e c a N a c i o n a l 19421 ( C a t a n i a , S i c i l y , s e c o n d h a l f o f t h e p r o s u l a s o n e after the other, Omnes r e f e r r i n g t o C h r i s t a n d Martyr a martyr. Christigratia, based u p o n it, for the c o m m e m o r a t i o n o f

T a b l e 11.23.2. Gloria Paris 1240, fo. 4 1

v

trope sets starting

() laudabilis rex
v

Paris 1121, fo. 43

O x f o r d 775, fo. 7 0

Paris 10508, fo. 37

GLORIA IN EXCELSIS DEO ET IN TERRA PAX () laudabilis rex LAUDAMUS TE A d o n a y benedicte BEN EDlCI MUS TE O adoranda ADORAMUS TE Glorificande
G L O R I F 1 C A M U S TE

O laudabilis rex A d o n a y benedicte O adoranda Glorificande Pax salus et vita (W)

O laudabilis rex A d o n a i benedicte O adoranda Glorificande Pax salus et vita ( W )

() laudabilis rex A d o n a y benedicte () adoranda Glorificande Rex s e c u l o r u m d o m i n e

O bone rex ( W ) GRATIAS AGIMUS Plebs tua ( W ) PROPTER MAGNAM Sanctam maiestatem ( W ) DOMINE DEUS Pax salus et vita ( W ) DEUS PATER D a pacem famulis (W) DOMINE FILI Pioque tuo amorc IESU CHRISTE Aeternam c u m Sanctis

Sanctam maiestatem (W) D a pacem famulis ( W ) A e t e r n a m c u m Sanctis Q u i solus habes (W) M i s e r t u s esto

DOMINE DEUS M a g n u s et fortis AGNUS DEI Rex pacificus ( W ) FI LI US PATRIS R e d e m p t o r universi ( W ) QUI TOLLIS Suscipe n u n c ( W ) QUI TOLLIS SUSCIPE DEPRECATIONEM Q u i super astra ( W ) QUI SEDES O decus o m n i u m ( W ) QUONIAM TU E r o s poli ( W ) TU SOLUS DOMINUS Prolis O r u t i l i s ( W ) TU SOLUS ALTISSIMUS Patri equalis IESU CHRISTE Q u i solus abes ( W ) CUM SANCTO SPIRITU Q u i unus i d e m q u e (VV) IN GLORIA DEI Caeli terraeque N o b i s in terris O etcrni sapientia Aeterni sapientia T u lux via A u d i clemens Rex regum ( + melisma) T u lux via O virtus honor S c e p t r u m t u u m ( + prosula) Rex s e c u l o r u m d o m i n c Rex s e c u l o r u m d o m i n e Pax salus et vita ( W )

No Gloria melody is indicated in Paris 1240 or Paris 1121. Oxford 775 has Gloria 12, Paris 10508 has Gloria 39. (W) = wandering verse. T h e Sceptnan tuum prosula has the same melody as the Regmmt melisma and its prosulas. T h e Rex region melisma (in Oxford 775) is one of rather few melismas in the Gloria trope repertory which have a melody different from Regnum.

E x . 11.23.15. G l o r i a 39 w i t h trope verses O laudabilis eternum f.23v (Paris, B i b l . N a t . lat. 10508, fos. 2 3 , 37 )
v r

rex, etc. and S c e p t r u m p r o s u l a

Lumen

GLO-RI-A

IN

EX-CEL-SIS

DE - O.

ET x

IN

T E R R A PAX

H O - M I - NIV

-BUS B O - N E

UO-LUN-TA-

-TIS.

O l a u - d a - b i - l i s rex d o - m i - n e x b -

De-us

LAUDA-MUS

TE. r

A - d o - n a - y bene-dic-te _a

De-us y

BE-NEDI-CI-MUS (r

TE.

O * T4 d S

a-do-ran-da a

et

b e - a - ta tri-ni-tas tr

De-us

A-DO-RAMUS

TE.

Glo-ri-fi-cande _x
T5 fa* m
0li

et metu-en - de tr

De-us

GLORI-FICA-MUS

TE.

fl

g.

i***

*1

V,

Rex s e - c u - l o r u m

do-mi-ne

Ie-su

Chris-te

GRATI - AS AGIMUS T l -

-BI

PROPTER

M A G - N A M G L O - RI-AM

TU-

-AM.

D O - -MINE

DE-US

REX C E - L E -

-STIS.

DE - US P A T E R OM -

NIPOTENS.

DO-

-MI-NE FI-LI

U-

-NI - G E - N I - T E .

T6

Mi - ser - tus es - to

no-stri

qui re-de-

-mis-ti

mundum tu-o

sacro

san - gui-ne.

IE-

-SU

CHRI-STE.

DO-MI-NE

DE-US.

AG-

- N U S DEI.

FI - L I - U S PATRIS.

QUI T O L -

-LIS P E C C A - T A M U N - DI

Ml-SE - R E - R E

N O - BIS.

QUI T O L - -LIS P E C C A - T A

MUN-DI

T7

^
Pax

"*
sa - lus et

*^ * "
u i - t a ho-minum ti - bi glo - ri - a.
#

1
SU-SCI-PE T8 DE-PRE-CA-TI - O-NEM N O -

"

-STRAM.

(5
No-bis in ter-ris mi-se - re-re De-us al - me.

QUI S E - D E S A D D E X T E R A M P A -

-TRIS M I - S E - R E - R E

NO-

-BIS.

tr

e-ter-ni

sa-pi - e n - t i - a

pa-tris.

_
QUONI-AM T U SOLUS SANCTUS. TIO T u lux if ui - a

et spes no-stra.
ir

*3 j
TU y, SOLUS

,
Til O
S

DO-MINUS.
Z

uirtus ho-nor

De _t

pa-tris

.
et glo-ri - a

^
o m - n i - u m u i - t a mo-ri
3

uo-lu-is-ti

pro cunctis O

bo-ne

rex.

TU SO-LUS AL-TIS-SI-MUS.

T12

Sceptrum regni no-

- b i - le.

L u - m e n . . . e-ternum qui splendor es sed de tu - o l u - m i n e . Sa-cre e c - c l e - s i - e s o - c i - a s - t i a d - m i - r a - bi - li d o - t e .

E. E.

230 ( E x . I I . 2 3 . 1 5 corn.)

Digna - re proles a b - s o l - u e - r e

di-lec-te.

E.

Sponse t u - e

di - uo pi - a - mi - ne.

E.

* Perma-ne-bit

in

'

* & e-ternum.

IE-

-SU

CHRISTE.

CUM SANCTO S P I - R I - T U

IN G L O - R I - A

DE-I

PA -

TRIS.

- MEN.

Ex.

11.23.16. S a n c t u s 56 ( V a t i c a n I I I ) and Martyr

w i t h trope verses Summe Christi gratia (Madrid,

pater,

etc.

and

Osanna 90 )
v

prosulas Omnes tua gratia

B i b . N a c . 19421, fo.

-#

*'

"

'*

fo

SAN-

-CTUS

S u m - m e pater de quo mundi princi - pi - a

con-stant.

SANCTUS

Fi - li - us om-ni -po-tens per quern patris est pi-e

uel - le.

SAN-

-CTUS

Spi - ri-tus

in

quo

par

uir-tus

si-ne fi - ne

re - fulget.

DO-

-MINUS D E - U S

SA-BAOTH.

PLENI SUNT C E - L I

ET T E R R A G L O - R I - A T U - A .

O-

-SAN - N A

IN EXCELSIS.

B E - N E D I C T U S QUI UENIT IN N O M I - N E D O - M I - N I .

Omnes tu-a

gra-ti-a

V quos a morte

*re - demis-ti per-pe-tu - a.

( E x . 11.23.19 c o m . )

2: f

Morte tu - a uis mortis cum principe proculcans ui-te nos re-pa-ras. D e - o pa-tri dans carum te pro nobis pre-ci-um et ui-uam hosti-am.

fri
*

E & f
* 9
9

2> F
0

~ * +~

'

Tecum nos r e - s u s c i - t a . Te er-go de-posci-mus.

Tecum in ce-lis col-lo ca. Ut cum iudex ad-ue-ne-ris.

Et re-gni lar - gi-re consor-ti - a. Cunctorum dis-cerne-re m e - r i - t a .

9 9a# Nos cum ange-lis et Sanctis s o - c i - e s . Cum quibus ti-bi ca-namus

O -

SAN - NA IN EXCELSIS.
9

"

'

'

*99-

Martyr Christi grati - a

cuius mortem sequens habes et gaudi - a.

Qui pro tu-is e - xoras-ti i - ni-micis c a - r i - t a - te plenus g e - m i - n a . D e - i patris . . . fi - li-urn Ihesum pro te astantem ad patris dex-teram.

Ui-dis - ti magna gra-ti - a C e r - . . . - t u s proti-nus dul-ci - a Nunc e r - . . . - g o te poscimus martyr sancte ut de-uo-tis fa-mu-lis

tecum i l - l o ha-bi-turum g a u - d i - a . tu-a pos-tules consor-ti - a.

9 9 ^ 9
9

Simul ut an-ge-lis et Sanctis s o - c i - i . cum...quibus D e - o ca-namus

O-

- S A N - N A IN

EXCELSIS.

Some

S a n c t u s t r o p e s , a n d A g n u s t r o p e s as w e l l , ' m i g r a t e ' f r o m o n e m e l o d y to

a n o t h e r . W i t h t h e S a n c t u s r e p e r t o r y t h i s is p e r h a p s n o t a l t o g e t h e r s u r p r i s i n g , s i n c e a l t h o u g h t h e n u m b e r of k n o w n S a n c t u s m e l o d i e s is v e r y l a r g e , t h e y d i s p l a y l i t t l e t o n a l variety, f o r the melodies w i l l n o r m a l l y be c o m p a t i b l e w i t h the i n t o n e d prayers w h i c h s u r r o u n d the chant. P r o s u l a s f o r A g n u s m e l o d i e s are to m y k n o w l e d g e u n k n o w n . E x . 1 1 . 2 3 . 1 7 h a s b o t h a n i n t r o d u c t o r y verse a n d verses b e f o r e e a c h ' M i s e r e r e n o b i s ' . I t s t e x t is r h y m i n g p r o s e , w h e r e e a c h first h a l f - l i n e of five to e i g h t s y l l a b l e s r h y m e s w i t h t h e n e x t h a l f , of s i x to fifteen s y l l a b l e s . T h i s is n o t m a t c h e d b y m u s i c a l r h y m e , a l t h o u g h c e r t a i n m e l o d i c p h r a s e s are u s e d s e v e r a l t i m e s . ( I t is a d m i t t e d l y o f t e n d i f f i c u l t to s e p a r a t e t h e ' c o m m o n c o i n ' of t h e m e l o d i c l a n g u a g e f r o m c o n s c i o u s m e l o d i c r e f e r e n c e s . ) This source, as is v e r y f r e q u e n t l y t h e case w i t h A g n u s tropes in 'western' m a n u s c r i p t s , g i v e s s i m p l y a ' m i s e r e r e ' i n c i p i t after t h e l a t e r ( f o u r ) t r o p e v e r s e s . It is

n o t c e r t a i n w h e t h e r i n t h e s e cases ' A g n u s d e i . . . m u n d i ' s h o u l d b e s u p p l i e d b e f o r e e a c h t r o p e v e r s e . T h i s is i n fact w h a t u s u a l l y a p p e a r s i n ' e a s t e r n ' s o u r c e s . B u t as it stands here, Ex. 11.23.17 becomes a short litany-type composition, w i t h leaders s i n g i n g v e r s e s to w h i c h t h e c h o i r r e s p o n d s w i t h a r e f r a i n . T h e f i v e ' m i s e r e r e ' are n o t u n c o m m o n i n e a r l y F r e n c h s o u r c e s , a l t h o u g h t h r e e is t h e u s u a l n u m b e r . E x . 11.23.17. A g n u s 15 w i t h trope verses Pro cunctis dediictus, 1134, f o . 106 )
v

etc. (Paris, B i b l . N a t . lat.

Pro cun-ctis

##

**

9W*

+0

99+

*>

de - ductus

ad

im - mo-lan-dum

fu - i - sti

ut ag-nus

**

+>

"

9"

+>

"

#*V

'6

"9-

r e - d e m p t a ple-be c a p - t i - u a

te

le - ti

d e - p o s - c i - mus u o - c e

pre-cel-

-sa.

#K*

+Q

'

**V

"

*****

A-

-GNUS D E - I

QUITOL-

-LIS P E C - C A

- TA

MUN-DI

-#
MI-SE-

"

*
-RE NO - BIS.

-RE-

' V
An-

v * -tiquus pla - stor

V
et

* v

-9*

ae-ter-ne

ui - te dispo-si-tor

MISERERE

+*

~*

+9

"

'

J*

9*>9^ *9

*9

+w*S

No-stro-

-rum cri - mi-num

sor - des ab-lu - e

Ihesu

Christe

MISERERE

V ^ r V ^
Pri- o - r u m spes a n - t i -qua

'9

9 *

*
tu-a

nostrorum

su-sci-pi-at

uo - ces ciemen-ti - a

De-cus

v ^ , ^
et rex

'

^
rum

*
MISERERE

-9

an - g e - l o - rum

se - cu - lo

MISERERE

I t a l i a n b o o k s p r e f e r a n o t h e r a r r a n g e m e n t , one w h i c h u n d o u b t e d l y r e f l e c t s a r e a l d i f f e r e n c e i n p e r f o r m a n c e p r a c t i c e . H e r e the t r o p e v e r s e r e m a i n s o u t s i d e t h e A g n u s verse. ( I v e r s e n i n C T 4 m a k e s clear these a n d other regional variations i n p r a c t i c e . ) E x . 11.23.18 d i s p l a y s b o t h this a n d another fashion cultivated by Italian m u s i c i a n s , t h a t of r e u s i n g t h e m u s i c of t h e m a i n c h a n t f o r the t r o p e v e r s e s . W h e n t h i s h a p p e n s m o r e t h a n o n c e f o r t h e s a m e m e l o d y , t r o p e s w i t h i d e n t i c a l m u s i c r e s u l t . T h e use of a

23.

Tropes dextram

233 pat lis

pes ( t w o - n o t e a s c e n d i n g g r o u p ) f o r ' s e c u l a ' i n t h e last t r o p e v e r s e oiAd

is t y p i c a l of S o u t h I t a l i a n r e c i t a t i o n p a s s a g e s . T h i s m a k i n g of t r o p e m e l o d i e s f r o m t h e m u s i c of t h e m a i n c h a n t is also k n o w n f r o m s o m e I t a l i a n K y r i e s (see s e c t i o n ( v i i i ) a b o v e ) a n d is r e l a t e d II.22.v). E x . 11.23.18. A g n u s 81a w i t h trope verses Ad dextram patris, (Benevento, A r c h . C a p . 34, fo. 181", and 35, f o . 199 )
r

to o t h e r

Italian c o m p o s i t i o n techniques

( o n s e q u e n c e s see

etc. and Rumanian

genus, etc.

Benevento

34

A G N U S DEI

QUI TOLLIS P E C - C A T A MUNDI

MISE-

-RE

RE

N O - BIS.

Ad dextram patris re-sidens qui semper ( A G N U S DEI as above)

sal-ua

et

parce

tu-is

alme.

;4
Quos tu-o sa-cro re-de-misti cru-ore ( A G N U S DEI as above) absque la- b e c u s t o - d i pastor bo-ne.

Rex re-gum Deus Benevento 35

rector an-ge-lorum

sal-ua

nos in s e - c u - l a

se-cu-lorum.

AGNUS

DE-I

QUI TOLLIS P E C C A T A MUNDI MISE-

-RE-

- R E N O - BIS.

Hu-manum genus qui uenis-ti sal-uare ( A G N U S DEI as above)

quos s a l -

-ua-

-stiprote-ge

dig-neris.

Qui morti claustra re-surgendo fregisti ( A G N U S DEI as above)

sal-ua

et

par-

-ce

quos r e - d e - m i s t i .

Ne constent nobis pecca-torum uiti - a

quod re-

-sur-ga-

-mus ne

pe-re-amus.

( x i i ) Farsed

lessons,

Creeds,

and

Paternoster

A d i f f e r e n t w a y of e l a b o r a t i n g c h a n t s o n s p e c i a l feasts w a s e m p l o y e d f r o m t h e t w e l f t h c e n t u r y o n w a r d f o r lessons a n d s o m e o t h e r c h a n t s , e s p e c i a l l y i n t h e h i g h l y i n d i v i d u a l l i t u r g i e s of s u c h feasts as C i r c u m c i s i o n k n o w n f r o m B e a u v a i s , S e n s , L a o n , a n d o t h e r

c e n t r e s (see a b o v e , 1 . 9 ) . P h r a s e s of p r e - e x i s t e n t c h a n t s w e r e i n s e r t e d i n t o t h e l e s s o n . S u c h a n i n s e r t i o n is o f t e n r e f e r r e d to a s f a r s a , b o t h i n t h e M i d d l e A g e s a n d i n m o d e r n w r i t i n g s , a l t h o u g h ' f a r s e ' c a n r e f e r to o t h e r t y p e s of t r o p i n g as w e l l . T h e e p i s t l e of m a s s w a s the c h a n t m o s t o f t e n f a r s e d : o v e r f o r t y e x a m p l e s are k n o w n ( n e a r l y a l l listed, w i t h sources, a n d w i t h the epistle tone they a c c o m p a n y , i n S t a b l e i n , ' E p i s t e P , MGG\ see also H u g l o , ' E p i s t l e ' , NG). T h e G o s p e l , b y contrast, was left u n a d o r n e d ( S t a b l e i n , ' E v a n g e l i u m ' , MGG C r e e d w e r e also f a r s e d . The office: f o r C i r c u m c i s i o n : P a t e r n o s t e r a n d A p o s t l e s ' C r e e d at C o m p l i n e ; G l o r i a , c r e e d at m a s s for St S t e p h e n : epistle for St J o h n : epistle for I n n o c e n t s : epistle respectively.) ( F a r s e d c h a n t s p r e s e n t i n t h e festal o f f i c e s of S a n t i a g o , S e n s , a n d B e a u v a i s are e d i t e d i n W a g n e r 1 9 3 1 , V i l l e t a r d 1907, a n d A r l t 1970 epistle, range of farsed chants sometimes present i n the festal offices can be appreciated b y listing those i n the m a n u s c r i p t c o n t a i n i n g the S e n s Circumcision cites t h r e e e x a m p l e s o n l y , a l l f o u n d i n G e r m a n a n d N i c e n e creed, a n d ( f r o m C o m p l i n e ) the A p o s t l e s '

Swiss sources). T h e Paternoster,

T a b l e 11.23.3. Farsed Apostles' Creed in Laon Farse verses Solus qui tuetur Sine quo nichil Nat urn ante seat I a Pro mundi remedio [Na tus] ineffabilitet Sol de Stella Ipse pot est ate Qui nulla perpetraret Gemit capta Tirannum trudens Unde descender at Regna cuius iure Reddens vicem Sine quo pieces Que construitur Angeli quorum Quibus deum Inmortalitatem Quern repromisit

263

Source (all for C h r i s t m a s season unless stated) Sequence Nato canunt omnia

Sequence Natus ante secula Benedicamus song Corde patris genitus H y m n Christe redemptor omnium Sequence Letabundus H y m n (St Peter) Aurea luce Sequence (Sundays after Pentecost) Stans a longe Sequence Eia recolamus H y m n (Easter) Ad cenam agni Sequence (Ascension) Rex omnipotens Sanctus trope Perpetuo nurnine H y m n ( A d v e n t ) Verbum supemum Sequence (Pentecost) Sancti spiritus H y m n ( D e d i c a t i o n ) Urbs beata Ierusalem A n t i p h o n (Innocents) Angeli eorum

A n t i p h o n ( M a r t y r ) Beatus

vir

The

technique may The

be i l l u s t r a t e d b y E x .

1 1 . 2 3 . 1 9 , t h e A p o s t l e ' s C r e e d as

farsed

a m o n g t h e E p i p h a n y c h a n t s of L a o n , B i b l i o t h e q u e M u n i c i p a l e 2 6 3 century). t h e s o u r c e s of t h e b o r r o w e d p h r a s e s is g i v e n i n T a b l e 11.23.3).

( L a o n , late t w e l f t h

p i e c e is a l s o p r e s e n t i n t h e B e a u v a i s a n d S e n s o f f i c e s . V i l l e t a r d ' s l i s t o f

E x . 11.23.19.

F a r s e d C r e d o ( L a o n , B i b l . M u n . 263,

fo.

139 )
r

C R E D O IN D E U M P A T R E M O M N I P O T E N T E M .

So-lus qui tu - e-tur om - n i - a . So-lus qui guber-nat o m - n i - a .

C R E A T O R E M CELI E T T E R R E .

Si - ne quo nichil est

cre-a-tum.

p. ET IN IHESUM CHRISTUM FILIUM EIUS U N I C U M . DOMINUM NOSTRUM. Pro mundi re - m e - d i - o

3 Natum an-te se - c u - l a .

carnis o-pertum

pal - li - o.

QUI C O N C E P T U S EST D E SPIRITU S A N C T O .

Na-tum in - ef - fa - bi - li-ter.

EX M A R I A UIRGINE.

Sol

de

stel - la.

PASSUS SUB PONTIO PILATO.

Ip - se

po-tes-ta-te

tra-di-ta.

CRUCIFIXUS M O R T U U S

ET SEPULTUS.

Qui nut-la perpe-traret

fa-ci-no-ra.

DESCENDIT A D I N F E R N A .

G e - m i t capta pestis a n - t i - q u a .

T E R T I A DIE R E S U R R E X I T A MORTUIS.

T i - rannum trudens uincu-lo.

236 ( E x . 11.23.19 cont.)

ASCENDIT A D C E L O S .

Un-de

descen-derat.

S E D E T AD D E X T E R A M

DEI PATRIS OMNIPOTENTIS.

Reg-na cuius iu-re tenet pa - r i - l i .

INDE U E N T U R U S I U D I C A R E UIUOS E T M O R T U O S .

Reddens uicem per a b - d i - t i s

iustis-que regnum pro bonis. C R E D O IN SPIRITUM SANCTUM.

Sine quo preces omnes casse creduntur et indigne D e - i auribus.

SANCTAM ECCLESIAM CATHOLICAM.

Que construitur in celis uiuis ex la - pi - di - bus.

SANCTORUM COMMUNIONEM.

A n - g e - l i quorum semper uident faci-em patris.

REMISSIONEM P E C C A T O R U M .

Quibus Deum

of-fen-dimus

cor-de uerbis o - pe-ri - bus.

~ * *;

? #;

CARNIS R E S U R R E C T I O N E M .

I n - m o r - t a - li - tatem cum Christo.

UITAM E T E R N A M .

Quern repro-misit

De - us

di - ti-gen-tibus se.

A-

P r o b a b l y the most w i d e l y k n o w n farsed epistle was the one s u n g all over (see per sources secula, in A H 49, 171 and Stablein 1975, 61, n. 601) on C h r i s t m a s D a y , o r C i r c u m c i s i o n , w h o s e i n t r o d u c t o r y v e r s e s are Laiides seemingly made f o r the p u r p o s e , i n alcaic metre, r e p e a t i n g m u s i c a l p h r a s e ( E x . 1 1 . 2 3 . 2 0 ) . ( S o m e s o u r c e s r e a d Laudem Deo

Europe Eve, am die

Christmas

a n d s u n g to a s i m p l e a n d / o r die ant.)

24. E x . 11.23.20. 26 )
r

Latin

Liturgical

Songs

237

I n t r o d u c t o r y verse Laudes

Deo for a farsed epistle ( L i m o g e s , B i b l . M u n . 2. f o .

Laudes D e - o

dicant

per se - cu - la

qui me plasma-uit et re-for - ma-uit san- gui-ne n a - t i ab o r - t u s o - l i s us - que ad mundi

in ma - nu c r u - c e pur qui cunctos or - bis per par-tes oc

dex -- te - ra - p u - re - a re - de - mit cli - ma - ta - ci - du - as

in lau - de cu-ius

cla - mo-res

ex - ci

tat.

E x . 11.23.21.

Start of farsed lesson w i t h verses Ce que Ysaies nos escrit,

v

etc. ( L i m o g e s , B i b l .

M u n . 2, f o . 4 6 )

1 2 3.

Di-ex

Ce que Y - s a - i e s nos es - c r i t . . . Or nous leuons en contre lu - i ap-parut . . . e'est la pre-miesse

de . . . 1'a-ue-nement Ihe-su Crist . . . si comme orroit encore et l'estoille est I'autre lu - mie - re

-Ml

9-

1. 2. 3.

b i - e n nos do-it es-tre hu - i hu - i doit es-tre chascuns par cui i uindrent

en re - meenbran-ce es - cle - ri - ez li troi roi . . .

1. 2. 3.

^ # wqui en di-eu auons no fi - en - ce . . . Ii seinz iors est re - pe-riez . . . la ti - e r - c e l u - m i e - r e est la fo-iz.

1. 2.

' *w * car il . . . en hor-te et semont qui trois meunieres de clar - tez

nos me-ismes et nos a d o u . . . ciel

tout ... hu - i

le mo a - por

rit. tez.

LECTI-0

Y-SA-I - E PROPHE-TE.

Other

f a r s i n g verses

'made

to m e a s u r e ' ,

so to s p e a k ,

rather

than

lifted from Limoges

e l s e w h e r e , are a s m a l l n u m b e r of v e r n a c u l a r i n s e r t i o n s f o u n d i n a f e w F r e n c h a n d S p a n i s h s o u r c e s of t h e f o u r t e e n t h c e n t u r y o n w a r d (see H u g l o , ' F a r s e ' , NG). 2 ( F o n t e v r a u l t , f o u r t e e n t h c e n t u r y ) is t h e m o s t i m p o r t a n t of t h e s e , w i t h five sets. T h e o p e n i n g of t h e E p i p h a n y f a r s e , w h i c h c o n t i n u e s as a n a l t e r n a t i o n b e t w e e n m o r e verses of t h e farse Ex. (all w i t h the same m e l o d y ) a n d l i n e s of the e p i s t l e is t r a n s c r i b e d i n auge i n t h e S e n s a n d B e a u v a i s 11.23.21.

O f s e v e r a l s u r v i v i n g P a t e r n o s t e r farses o n l y Fidem

o f f i c e s is r e l a t i v e l y w e l l k n o w n ( e d n . i n V i l l e t a r d 1907 a n d A r l t 1 9 7 0 ) . S t a b l e i n ( 1 9 7 7 ) has s u r v e y e d o v e r t w e n t y e x a m p l e s , of w h i c h o n e is p o l y p h o n i c , f o r t w o v o i c e s , a n d t w o - t h i r d s are c o p i e d w i t h o u t m u s i c a l n o t a t i o n . L a o n 263 h a s t w o , a l l o t h e r o n e o n l y . F o u r are t r a n s c r i b e d b y S t a b l e i n . sources

11.24.

L A T I N

L I T U R G I C A L

S O N G S

(i) I n t r o d u c t i o n (ii) V e r s u s i n E a r l y A q u i t a n i a n M a n u s c r i p t s ; Versus w i t h ' D o u b l e C u r s u s ' (iii) T w e l f t h - C e n t u r y S o n g s : T e x t u a l and M u s i c a l Style (iv) T w e l f t h - C e n t u r y S o n g s : L i t u r g i c a l F u n c t i o n S c h m i t z 1936; S t a b l e i n , ' S a i n t - M a r t i a l ' , ' V e r s u s ' , A / G G ; E m e r s o n 1964; H a r r i s o n 1965; T r e i t l e r 1967; A r l t 1970; C r o c k e r , 'Versus', A G ; Planchart and F u l l e r , 'St M a r t i a l ' , A G . Editions: V i l l e t a r d 1907; T r e i t l e r 1967; A r l t 1970. Facsimiles: A r l t and Stauffacher 1986; G i l l i n g h a m 1987, 1989.

(i)

Introduction

B e n e d i c a n i u s c h a n t s w i t h e x t r a text s u p p l e m e n t i n g t h e b a s i c ' B e n e d i c a m u s d o m i n o : D e o gratias' have already been m e n t i o n e d ( I I . 2 3 . i x ) . B y the t w e l f t h - c e n t u r y s u c h c o m p o s i t i o n s were often m a d e w i t h texts h a v i n g r h y m e a n d often regular r h y t h m i c j ^ r e s s , f e a t u r e s of n e w c o m p o s i t i o n i n m a n y g e n r e s d u r i n g t h a t p e r i o d . T h e t e x t s are o f t e n strojDhuic, a n d s o m e h a v e r e f r a i n s . V e r y o f t e n t h e n e w s t y l e of the t e x t ( r h y m e a n d r e g u l a r s t r e s s - p a t t e r n s ) is m a t c h e d b y a n ^ w j r i u ^ t h i r d ( t e r t i a n m e l o d i c sty^ goals, with free a n d r a p i d movement t h r o u g h the chosen e m p h a s i z i n g s t e p s of a range, a tendency to , p r e s e n t i n g t h e fifth a n d o c t a v e a b o v e t h e finalas . m e l o d i c

c o m p a r t m e n t a l i z e m o v e m e n t of i n d i v i d u a l p h r a s e s i n t o o n e o r o t h e r s e g m e n t of t h e o c t a v e , a n d t h e c o u p l i n g of s t r e s s e d s y l l a b l e s to t h o s e n o t e s w h i c h f o r m t h e t o n a l

backb(^ne_C3f

the

music. Some

pieces

refer

to l i t u r g i c a l f o r m u l a s o t h e r cantilena, a n d cantio. and

than

the

B e n e d i c a m u s t e x t ; a l a r g e n u m b e r are free of l i t u r g k a i r e f e r e n c e s . M e d i e v a l n a m e s f o r t h e s e c o m p o s i t i o n s i n c l u d e versus, called songs. These songs share some character^ rjijcQXj^ssional hymns ( 1 1 . 1 5 ) . L i k e t h e s o n g s , h y m n s h a v e p o e t i c texts, i n s t r o p h i c f a r r a , a n d sometimes conductus, Hg| t h e y are

r e g u l a r r h y t h m , w i t h r e l a t i v e l y s i m p l e m u s i c . ProcessiojialJFiin^ctjfjn a n d ^X9P.-he.~ p l u s r e f r a i n s t r u c t u r e are f u r t h e r l i n k s . T h e n e w c o m p o s i t i o n s d i d not^ h o w e v e r , p e n e t r a t e t h e t r a d i t i o n a l c y c l e of o f f i c e h y m n s to a n y s i g n i f i c a n t For many of the twelfth-century The same songs is also circumstantial, evidence. true of extent. to be surmised sacred from in before some other songs a furj^tipn has

A q u i t a n i a n s o u r c e s of t h e n i n t h to e l e v e n t h c e n t u r i e s , d i s c u s s e d b r i e f l y h e r e t h e t w e l f t h - c e n t u r y r e p e r t o r y is a d d r e s s e d .

(ii)

Versus in Early

Aquitanian

Manuscripts;

Versus with

'Double

Cursus'

P a r i s , B i b l i o t h e q u e N a t i o n a l e , lat. 1154 is a m a n u s c r i p t f r o m A q u i t a i n e p r o b a b l y of the second h a l f of t h e ninth century, whose contents i n c l u d e (fos. 98-143) an not the i m p o r t a n t jcollection of L a t i n poems, others ritmus, cannen, planctus lingua s o m e of w h i c h w e r e n o t a t e d (probably

b e f o r e t h e t e n t h c e n t u r y ) . M o s t of t h e p i e c e s are ca\\zd jijrsus ( f o r t w o l a m e n t s ) , hymnus a n d Tellus ac ethra), sac?am). p r o c e s s i o n a l h y m n s Pange

i n the m a n u s c r i p t , (a l i t u r g i c a l are.abecedary

( t w o of t h e m are

a n d o n e Jfrrosa

s e q u e n c e f o r S t M a r t i a l , Concelebremus Jetter, p r o g r e s s m ^

S e v e r a l of t h e p i e c e s

h y m n s , that is, s j r o p h i c c o m p o s i t i o n s w h e r e each s t r o p h e b e g i n s w i t h a d i f f e r e n t A w i d e r a n g e o f . c l a s s i c a l m e t r e s is r e p r e s e n t e d i n t h e c o l l e c t i o n , a n d t h e use of ^ ^ g i a n c e ^ i s s t r i k i n g l y c o m m o n . O n l y f o u r of t h e s e p i e c e s h a v e b e e n f o u n d e l s e w h e r e as l i t u r g i c a l i t e m s , a n d t h e o n l y reason f o r m e n t i o n i n g t h e rest is that their c o m p o s i t i o n a l techniques were p r e s u m a b l y k n o w n t o , a n d m i g h t h a v e s e r v e d as m p j l e j s for..the w r i t e r s of l i t u r g i c a l p i e c e s . T h o s e f o u n d i n l i t u r g i c a l m a n u s c r i p t s are t h e t w o p j o c e s s i p n a j . f e y m n s a n d t h e s e q u e n c e j u s t m e n t i o n e d , w h i c h are c o p i e d t o g e t h e r at t h e e n d of t h e c o l l e c t i o n , a n d a n o t h e r s e q u e n c e , , ^ w c ^ Paule.
v

M a n y of t h e w o r k s are ^sacred at least i n a g e n e r a l 1931).

sense; some are tqpical, secular w o r k s (inventory and b i b l i o g r a p h y i n S p a n k e

S e v e r a l of t h e p o e m s are a t t r i b u t e d t o G o t t s c h a l k , P a u l i n u s of A q u i l e i a , a n d B o e t h i u s . S c a t t e r e d i t e m s of t h i s sort are f o u n d i n o t h e r s o u r c e s . ( S e e F a l l o w s , ' S o u r c e s , M S , I I I , 2 : S e c u l a r M o n o p h o n y , L a t i n ' , NG.) b y the fifty L i b r a r y G g . v . 35, I n n u m b e r s t h e y are m o r e t h a n o u t w e i g h e d abbey, the ' G o l i a r d ' s o n g s i n the ' C a m b r i d g e S o n g b o o k ' ( C a m b r i d g e , U n i v e r s i t y c o p i e d i n t h e m i d - e l e v e n t h c e n t u r y at S t A u g u s t i n e ' s taj^k

C a n t e r b u r y , f r o m a R h e n i s h exemplar), certainly a j ^ o i l a r r e p e r t o r y , b u t again one whose poetic technique^ may not g r e a t m a j o r i t y of t h e p i e c e s , n o _ t r a n s c r i p t i o n is p o s s i b l e . T h e i m p o r t a n c e of t h e s e w o r k s i n t h e h i s t o r y of l i t u r g i c a l m u s i c h a s p e r h a p s b e e n

e x a g g e r a t e d , s i n c e u n l e s s m o r e of t h e w o r k s c a n b e s h o w n to h a v e f u l f i l l e d a r o l e i n t h e l i t u r g y t o v i e w t h e m as a n y m o r e t h a n p o s s i b l e m o d e l s f o r l i t u r g i c a l c o m p o s i t i o n s seems over-enthusiastic. A c o n s i d e r a b l e b o d y of l i t e r a t u r e has n e v e r t h e l e s s a n d o n e o t h e r p i e c e , Dulce

,

arisen cannen,

a r o u n d s o m e of t h e m , i n p a r t i c u l a r SgMCje^Pgule, b e e n c a l l e d ( s i n c e W i n t e r f e l d , 1901)

l a b e l l e d ' V e r s u s d e ^ c q . ^ M ^ ^ r i t i o . T h e s e are t h e t w o e x a m p l e s i n P a r i s 1 1 5 4 of w h a t h a s the 'sequence w i t h d o u b l e c u r s u s ' ( H a n d s c h i n ' s less h a p p y t e r m w a s ' a r c h a i c s e q u e n c e ' ) . T h e s e c o m p o s i t i o n s are c o n s t r u c t e d at least p a r t l y i n p a i r e c L v e r s e s , l i k ^ J l l ^ e q u ^ c e ; b u t t h e i r l a t e r verses r e p e a t t h e m u s i c of e a r l i e r o n e s , so t h a t t h e t e x t also m u s t use t h e ^ s a j r i e h e n c e
1

the t e r m ' d o u b l e

c u r s u s . S o f a r e i g h t s u c h p i e c e s h a v e b e e n ^ j s c o y e r e d . It s h o u l d b e p o i n t e d o u t t h a t sets of f o u r verses to t h e s a m e m e l o d y , o r e v e n m o r e , are a l m o s t as c o m m o n as p a i r s (see t h e t a b u l a r s u m m a r y of t h e i r s t r u c t u r e i n P h i l l i p s a n d H u g l o 1982, w i t h b i b l i o g r a p h y , to w h i c h can be a d d e d S t a b l e i n 1978; m e l o d i e s see a b o v e , II.22.ii). caeli domine, cited i n the enchiriadis a n d a m o n g t h e earljest^ k n o w n e x a m p l e s of 1982 MGG). f o r c o r r e c t i o n s to t h e e d i t i o n s i n Given the lack_jof_cqnnection o n 'recapitulations' i n early l i t u r g i c a l sequence

T h e m o s t f a m o u s of t h e s e d o u b l e - c u r s u s v e r s u s \% Rex J i i n t h c e j i t u r y t r e a t i s e Musica
:

jBolyj)hgnic Handschin htim^^Re^

m u s i c (see 1929 CMJi and (

a n

Phillips and Huglo Stablein, 'Sequenz',

d m o s t of t h e o t h e r d o u b l e - c u r s u s v e r s u s ) a n d t h e , l i t u r g y , t h e

a s s i g n a t i o n to s u c h p i e c e s of a c r i t i c a l r o l e i n t h e e a r l y d e v e l o p m e n t o f t h e l i t u r g i c a l s e q u e n c e b y s u c h w r i t e r s as D r o n k e ( 1 9 6 5 ) s h o u l d b e t r e a t e d w i t h c a u t i o n . T h e s a m e s h o u l d be s a i d o f t h e e a r l y v e r s u s i n g e n e r a l . T h e r e c a n b e n o d o u b t as t o t h e i r a r t i s t i c .accomplishment: schemes, their texts display a considerable range of metreand rhymethe firsta n d t h e i r m u s i c is f r e q u e n t l y cast i n s h o r t - b r e a t h e d p h r a s e s t o . r e f l e c t

p o e t i c d e s i g n s . B u t i n p r e c i s e l y t h e s e r e s p e c t s t h e y are q u i t e d i f f e r e n t i n i m p a c t f r o m t h o s e of t h e n o r m a l t e n t h - to e l e v e n t h - c e n t u r y l i t u r g i c a l s e q u e n c e . W h e r e a s t h e e p o c h s e q u e n c e c o u p l e s an e x p a n s i v e m e l o d i c e x u b e r a n c e w i t h f o r m a l ruggedness, the y ^ n m s p r e f e r s t h e d e f t j n t e r p l a y of s m a l l p o e t i c a n d m e l o d i c u n i t s y y i t h o u t a i m i n g f o r

K

t h e m o n u m e n t a l l y of. the, s e q u e n c e . E x . 1 1 . 2 4 . 1 , t h e o p e n i n g of Sancte P a r i s 1154 ( i n Rex w h i c h are i n ^ e l a ^ j m i ^ i c a j l y . Paide pastor hone, s h o w s h o w the v e r s u s i n versicles ( s u c h as c a n be t r a n s c r i b e d , that is) s e e m to p r o c e e d i n ^shojrt

^ o j i n e ^ i n t h e p o e m is l o n g e r t h a n e l e v e n s y l l a b l e s

caeli n o m o r e t h a n t h i r t e e n s y l l a b l e s ) , a n d the^ayerage l e n g t h is m u c h s h o r t e r .

T h e o v e r a l l m u s i c a L f o r m o f t h e p i e c e , f o l l o w i n g de G o e d e ' s r e c o n s t r u c t i o n , i s :

\AA /A A J B3

BI BI BI BI

C C C C

B2 B2 B2 B2

DI

D2

D3 D4

B u t t h i s is o n l y p a r t of t h e s t o r y . A s c a n be seen f r o m t h e t r a n s c r i p t i o n ( w h i c h is of AA B1B1 C C B 2 B 2 i n t h e a b o v e s c h e m e ) e a c h , v e r s e . i s c o m p o s e d of s m a l l e r l i n e s , *
n

Jndicate^^

t h e t r a n s c r i p t i o n . ( T h e v e r s i o n of t h e ' D ' s e c t i o n i n P a r i s

1154 is c o r r u p t a c c o r d i n g to S p a n k e , 1 9 3 1 , a n d t h u s t h e r e c o n s t r u c t i o n p r e s e n t e d b y

E x . I I . 2 4 . 1 . Start of versus Sancte Panic pastor bone (Paris, B i b l . N a t . lat. 1154, f o l . 129 ;
v

Benevento, A r c h . C a p . 34, fo. 208 )

v

Sancte Pau-le pastor bo-ne Quern Damasco propinquantem

51

|i
I

Vas e-lectum do-mini Lux di - u i - n a su - bi - to ^

Predi-ca-tor gen-ti-um e-gregi-e Circumful-sit his uerbis interrogans

Sau-le Sau-le quid me cedis Tunc in terram corru - is-ti I

E - g o sum Hiesus benignus Nec suffe-re p o - t u - i s - t i c

i
B2

Omni-um Uocis uim

condi-tor ce-li-ce

Qui te quoque condi-di ex ni - hi - lo Mox fu-tu-rus doctor in e c - c l e - s i - am

; Se-minans Ex qui-bus

* ; fi-de-i nos su-mus

" Dog-mata c a - t h o - l i - c e Licet no - uis-si - mis

Nu-merum credenti-um C o n s t i - t u - t i tempo-ris

31
~

Accu-mulans Angus-ti-is

Nos audis supplican-ter T u pastor no-bis da-tus ^

Lux decus o r - b i s hu-ius T u gregis Christi custos &

A t - q u e uoce fa-mu-lorum E-ius pro s a - l u - t e semper

Pu - ra mente pos-tulantum S u p p l i - c a - r e r e - g i nostro

Re-ci-ta iu-di-ci Cu-ius im - p e - r i - u m

qui c e - l o - r u m Continet i n - s i g - n i - a s i - n e fi - ne Manet in p e r - p e - t u - u m

d e G o e d e 1 9 6 5 , L X I is h y p o t h e t i c a l . F o r f u r t h e r i n f o r m a t i o n o n t h i s a n d o t h e r s u c h p i e c e s see a l s o S t a b l e i n 1978.)

( i i i ) Twelfth-Centwy

Songs:

Textual

and Musical

Style

S o m e of t h e s t y l i s t i c c h a r a c t e r i s t i c s of t h e ^ a r i y s e c u l a r v e r s u s ( t h o u g h n o t t h e d o u b l e cjuxsu^jclea) are also f o u n d i n t h e s o n g s of t h e t w e l f t h c e n t u r y . W h e t h e r it w a s t h a t poetic a n d m u s i c a l resources previously considered appropriate o n l y for secular songs were now brought
5

i n t o l i t u r g i c a l use is not clear.

(Such

p o e t s as

Abelardsee

W e i n r i c h , ' A b e l a r d , NG,

a n d H u g l o 1979, ' A b e l a r d ' c o n t r i b u t e d to b o t h l i t u r g i c a l

and secular repertories.) A n o t h e r question, w h i c h m i g h t seem to s t a n d the p r e v i o u s i d e a o n i t s h e a d , is w h e t h e r t h e l i t u r g i c a l s o n g s of t h e t w e l f t h c e n t u r y e x e r c i s e d a n y i n f l u e n c e o n t h e v e r n a c u l a r l y r i c s of t h e j r o i i b a d o u r s . T h e m a t t e r is r e a l l y b e y o n d t h e

s c o p e of t h i s b o o k , b u t r e a d e r s m a y l i k e to c o n s i d e r f o r t h e m s e l v e s w h e t h e r o r n o t the t y p i c a l f e a t u r e s of t h e L a t i n l i t u r g i c a l s o n g s d e s c r i b e d h e r e are s t r o n g l y r e f l e c t e d i n t h e v e r n a c u l a r r e p e r t o r i e s . ( N o w r i t e r has s u b j e c t e d b o t h t e x t u a l a n d m u s i c a l f e a t u r e s of b o t h r e p e r t o r i e s t o a n a d e q u a t e a n a l y s i s . S t a r t i n g - p o i n t s i n the v a r i o u s areas are provided by Spanke Ex. 1 9 3 0 - 1 a n d 1936, T r e i t l e r 1967, A r l t 1970.) fitted neatly into the 1 1 . 2 4 . 2 is a t y p i c a l e x a m p l e of a t w e l f t h - c e n t u r y l i t u r g i c a l s o n g , o n e w h i c h d o m i n o ' a n d ' D e o gratias', of t h e p o e m , i n the e x t e n d e d t h i r d a n d s i x t h s t r o p h e s of t h e piece.

i n c l u d e s the w o r d s ' B e n e d i c a m u s rhyme-scheme first piece

M e j o d i c m o v e m e n t is a l m o s t c o m p l e t e l y t e r t i a n f o r t h e first f o u r l i n e s of t h e p i e c e . A t t h e t r i a d ace is s t r e s s e d , t h e n a f t e r t h e r a p i d d e s c e n t to l o w D a n d C t h e r e is i n t e r v a l a g a i n s t the C-F-G t r i a d u p o n w h i c h the that slight groups course the finally settles. The i a n i b i c ^ x h y t h m o f the text is so p e r v a s i v e s o m e g e n t l e p l a y i n g o f f of the D-F

i r r e g u l a r i t i e s ( a c c o r d i n g t o c l a s s i c a l L a t i n u s a g e ) s e e m i r r e l e v a n t . T h e q u a n t i t i e s are less r e g u l a r i n a l t e r n a t i n g s h o r t a n d l o n g . Y e t it is n o t i c e a b l e that, tW-Qrnote al\yaysiall o n w h a t are.felt W h e t h e r t h i s r e f l e c t s a p e r f o r m a n c e i n _c,nntin11niis._iip-heat 6/8 r h y r h m ^ i s o f w h i c h the m u s i c h i g h l i g h t s rather than disguises. sapientia, (Regular s t r e s s e d s y l l a b l e s , i n t h e _ ^ o n d _ h a l f of e a c h s t r o p h e .

o p e n to q u e s t i o n . W h a t is b e y o n d d i s p u t e is t h e r e g ^ j l ^ r h y ^ t h m i c n a t u r e of t h e t e x t , note-grouping in 148.) o p p o s i t e s e n s e , w h e r e it is the u n s t r e s s e d s y l l a b l e s w h i c h are g i v e n t w o - n o t e g r o u p s , c a n a l s o b e f o u n d , f o r e x a m p l e i n Dei A r l t 1970, Editionsband,

E x . I I . 2 4 . 2 . B e n e d i c a m u s song Lux omm' festa populo ( M a d r i d , B i b l . N a c . 289, fo.

132 )
v

1. b

Lux om-ni fes-ta

po-pu-lo

re-cur-rit an - ni

c i r - c u - lo

qua n u n - c i - a n - te c

an-ge-lo

ex-or-taest

re-dempti -

o.

*3
Nostra-que li - b e - r a - ci - o 2. a b c Dum omnia silencio et nox inter altissimos

'

<i
ex

ser-pentis

a - cu - le - o.

continerentur medio perageret curriculo. regali uenit solio fir preceteris formosior processit orbis conditor. effectus est Deus homo.

Sermo tuus O genitor

3.

a b c c

Sponsus uti de thalamo ita de matris utero Pro seculi remedio Quo c i r c a nos

in iubilo

B E N E D I C A M U S DOMINO.

4.

a b c

O matris alme uiscera que genuerunt talia

repleta Dei gracia tanta sacrata pignora. que puer ille sugxerat.

Beata quoque ubera

5.

a b c

Cui tota celi curia Cui talis est celestia potencia

tremens in laude consonat ut illi que sunt omnia genuflectuntur subdita.

terrestria

6.

a b c c

Cuius

misericordia

et admiranda bonitas. aduentu primo liberet. ab infernali fouea. dicamus D E O G R A C I A S .

A morte nos perpetua Secundo nos eripiat Ut in polorum regia

T h i s s i m p l e a n d d i r e c t m e l o d i c i d i o m is t h e p r e f e r r e d s t y l e o f w h a t m a y b e c a l l e d the N o r t h F r e n c h t r a d i t i o n i n this i n t e r n a t i o n a l repertory, represented b y t h c s o u r c e s w i t h festal offices f r o m L a o n ^ Sens, a ^ (1.9) a n d a l s o t h e e a r l i e r t r o p e r s f r o m N o r m a n S i c i l y ( M a d r i d , B i b l i o t e c a N a c i o n a l 288, 2 8 9 , a n d 19421), a l l of w h i c h m a n u s c r i p t s date f r o m t h e t w e l f t h o r e a r l y t h i r t e e n t h c e n t u r y . A q - u i t a n i a n . t w e 1 f t h centjan^ iubilemus, begins a sources series occasionally of pieces record much more 'lc incoant florid compositions. ('Here Letabundi begin the E x . I I . 2 4 . 3 , is f r o m P a r i s , B i b l i o t h e q u e N a t i o n a l e , l a t . 1 1 3 9 , w h e r e i t headed Benedicamus'

B e n e d i c a m u s p i e c e s ' ) , a l t h o u g h t h e t e x t of t h i s p a r t i c u l a r p i e c e m a k e s n o r e f e r e n c e t o t h e r i t u a l w o r d s . ( I n t h e L e P u y o f f i c e it is r u b r i c k e d as a ' c o n d u c t u s ' . ) T h e t e x t of Letabundi far j r n c j m ^ j a r i e d = unstressed): iubilemus is c l e a r l y of t h e n e w e r t y p e , w i t h (' = stressed or half-stressed lkte.4e.ngths at l i n e - e n d s ; than in E x . II.24.2

Letabundi iubilemus Accurate celehremus C h r i s t i natalitia s u m m a leticia c u m gratia produxit gratanter mentibus fidelibus inluxit.

T h e t e x t c o n s i s t s of t h r e e . r e g u l a r s t r o p h e s , set i n a n , A B A ( d a c a p o ) m u s i c a l f o r m . B u t t h e t e x t u a l s i m i l a r i t y of t h e t h r e e s t r o p h e s is q u i t e o b s c u r e d b y t he^ ve r y o r n a t e s e t t i n g f o r t h e c e n t r a L s t r o p h e ( i n t h i s s o u r c e , t h o u g h n o t i n t h e L e P u y v e r s i o n ) , as i f t h e c o m p r e s s e d e n e r g y of t h e s y l l a b i c l i n e s s u d d e n l y e x p l o d e s i n a v i r t u o s o v o c a l display. C h a i n s of t h i r d s are m u c h less p r o m i n e n t , p a r t l y b e c a u s e o f t h e ornate

s u r f a c e of t h e m e l o d y , t h o u g h the s t r o n g K-G l i n e s , a n d a-c-e

a n d a-c-e

c h a i n s of t h e f i r s t

three

i n ' q u o d i n n o b i s ' a n d ' a r c a n u m ' , are h e a r d c l e a r l y e n o u g h . H o w e v e r , e-c, d-b, etc. A n d such are also of

if t h e n o t e - g r o u p i n g s w i t h i n t h e m e l i s m a s reflect p h r a s i n g i n p e r f o r m a n c e , t h e n o t h e r t h i r d s m a y b e a u d i b l e : i n ' ( E r u c t a ) v i t ' f o r e x a m p l e , c-e,f-d, p r o g r e s s i o n s as t h a t at ' v i s a c e r b u m ' , partially concealed b y the text,

E x . I I . 2 4 . 3 . L a t i n song Lx>tabundi iubilernus

(Paris, B i b l . N a t . lat. 1139, fo. 58')

Le-ta-bun-di O re d i g - n a

i u - b i - le-mus pre-di - ca - ri

a c - c u - r a - t e cele-bremus Christi n a - t a - l i - ci - a cui non ualent conpara-ri quanta uis mi - r a - c u - l a

summa l e - t i - c i - a fe-rit u i r g u n - c u - l a

cumgrati-a per s e - c u - l a

pro-durec-to-4-\

-xit -rem

gra-tanter menti-bus conceptum e - d i - d i t

9 f i - dz e - l +~ i-bus nec perdi-dit

in-

-lu -

xit. pu-do-rem. (Fine)

E -

rue

ta

ui-

pa-

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uer-bum

per-dit

ho-

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uis

a - cer-

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0
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ha-

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quod di-u

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tunc

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ar

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qui

con-tra

ga-

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significance:

G-b,

a-c,

b-d,

c-e.

A n important

element

i n the setting of the

' E r u c t a v i t ' s t r o p h e is t h e r o u l a d e cde-fed-edc-dc

i n one permutation or another.

G e n e r a l s p e a k i n g , t h e B e n e d i c a m u s s o n g s are t h e less a d v e n t u r o u s i n p o e t i c m e t r e a n d f o r m , a n d f e w B e n e d i c a m u s s o n g s are i n florid m u s i c a l s t y l e , w h e r e a s s o n g s wiTh~ f r e e t e x t s o f t e n d i s p l a y r h y t h m i c a n d m e l o d i c d e s i g n s of c o n s i d e r a b l e b r i l l i a n c e . T h e e x t r a v a g a n c e c a n b e p u r e l y d i y t h m i c , as injVatus[est, t h e r e p e t i t i v e m e l o d y h i g h l i g h t s , b y i t s v e r y naivete, i n d i r e c t l y to c o m p o s i t i o n s like E x . 11.24.1 above. E x . I I . 2 4 . 4 . L a t i n song Natus est, natus est ( M a d r i d , B i b l . N a c . 289, f o . 144 )
v

natus

est ( E x . I I . 2 4 . 4 ) , w h e r e

t h e i r r e s i s t i b l e d r i v e of t h e

p o e m . T h e piece has t w o large s t r o p h e s , w i t h n u m e r o u s . i n t e r n a l x e p e a t s , w h i c h l i n k it

Z-t FP
^
w w

_j

1. 2.

Na-tus est I - gi-tur

na-tus est i - gi-tur

na-tus est qui mun-di i - gi-tur lamno-ua

ho - di di - lu munda - na concrepent

do-mi-nus fa - ci - nus fa-bri-ca can-ti-ca

quern pax

pa-ter factor o m - n i - u m in hoc mi - sit -xi - li - um ut fac-turam r e - d i - m e - r e t

eet

pa-ra-di-so

red-de-ret

est in ter-ra red-di-ta per pro-to-plaustum p e r - d i - t a o r - t a pro-le summi pa-tris ca-

-ro f a c - t a c a r - n e matris

3E
nec mi - nu - it quod a-sumens quod non e - rat e-rat sed carnis sumpto p a l l i - o in u i r - g i - n i s p a - l a - c i - o ut sponso de thalamo processit ex u - t e - r o flos de Iesse u i r - g u - l a fructu replet s e - c u - l a O quanta l e - t i - c i - a O et quanta glori-a quanta D e - i g r a - c i - a sunt i n - e f - f a - b i - l i - a

ci-pres-sus ex ue-ni-ens a

pla-ta-no Li-ba-no

est ut

in-cli-na-ta de-i-tas re-spi-ret huma-nitas

1. 2.

hunc predixit p r o p h e - t i - a nas-ci-turam ex M a - r i - a O n a - t i - u i - tas miran-da O et di-es ue-neran-da

quando flos is - te nas-ci-tur di - a - bo-lus confun-di-tur O stel-la ma-ris i n - c l i - t a e-ternum florem p r o d i - t a

f f w

1. 2.

et ut

m o - r i - t u r mors a d - i u - u e t nos

et ut

mo - r i - t u r mors. ad - iu-uet nos.

. P o e t i c e x u b e r a n c e o f a d i f f e r e n t k i n d is d i s p l a y e d D a r s t e l l u n g s b a n d , 212), where the r e j 3 e j i t i ^

:

\riJ2a.Jaiidis homo

( A r l t 1970, rapt

suggesting an almost

amazerr^nt_at_the w o n d e r of the I n c a r n a t i o n . R e f r a i n s o n g s a r e a n o t h e r c h a r a c t e r i s t i c f e a t u r e of t h e r e p e r t o r y . E x x . I I . 2 4 . 5 - 7 s h o w three e x a m p l e s . I n E x . 11.24.5 the r e f r a i n consists s i m p l y of line e n d i n g s . E x . I I . 2 4 . 5 . B e n e d i c a m u s song Thesaurus nove grade ( M a d r i d , B i b l . N a c . 289, f o . 134 )
v

1. 2. 3.

The -sau-rus no - ue est re - ue - la - tus

gra - ci ho - di -

e e

Tarn c l a - ris in na -- ta - li - bus gau- den-dum con -stat om - ni - bus Le - t e - m u r er - go pa - ri - ter psal - l a - mus un - a - ni - mi - ter

1.

ce - les - tis pro - d u - xit se - cun - d a cu - mu - ne et cor - de

flo - rem ger - mi - nis al - uus uir - gi - nis sa - Ius fa - cit uo - ci om - n i - urn g a u - d i - um con - so - no

E - ma - nu
in Is - ra ma - nu Is - ra

- el - el

2. 3.

E in

- ei
- el

E in

ma - nu - el Is - ra - el

BE - N E - D I - CA - MUS D O - M I - NO

(most of strophes 4 -6, for D E O G R A C I A S , lost) E x . I I . 2 4 . 6 . L a t i n song Plebs Domini hue die (Paris, B i b l . N a t . lat. 3549, f o . 167 )
v

1. Plebs do - mi-ni hac di - e

l e - t a - m i - n i set pi - e

laus uir-gi-nis

laus uir-gi-nis

Ma-ri-e et cor-dibus et

uo-ci-bus

et a c - t i - b u s

pro-ma-

^ r *

-tur

Ma - ri-am uox

*-

*
Ma - riam cor

Ma - nam sensus mens uigor

i
proclament hac in di-e et fi - li-um Ma - ri-

(full text A H 20 no. 149 p.119) 8. Hoc sobrie de quanta stirps gracie gens sancta materie materie de tanta cum gaudio fit mentio iam lectio legatur.

E x . 11. 24.6 h a s a r e f r a i n ( ' M a r i a m u o x ' , e t c . ) e q u a l i n l e n g t h t o t h e s t r o p h e s of t h e poem, and perhaps outweighing them m u s i c a l l y b y v i r t u e of t h e j & e l i s m a s . , (it is characteristic o f m a n y s o n g s t o p l a c e m e l i s m a s o n t h e lasjL..stressed.syllable o f l i n e ; a n d is t h u s o n e of s e v e r a l s u c h s o n g s w h o s e probable

E x . I I . 2 4 . 6 has b o t h short a n d l o n g ones). T h e p o e m ends w i t h an i n v i t a t i o n to b e g i n t h e r e a d i n g of t h e l e s s o n , f u n c t i o n w a s to a c c o m p a n y t h e p r o c e s s i o n of t h e s u b d e a c o n o r d e a c o n t o t h e l e c t e r n t o i n t o n e t h e E p i s t l e o r G o s p e l . ( T h e r e is n o i n d i c a t i o n f o r a r e p e a t o f t h e r e f r a i n a f t e r the final strophe.) ( L o n d o n , B r i t . L i b . A d d 36881, fo. 3 2 )

v

E x . I I . 2 4 . 7 . L a t i n song Ave mater salvatoris

1.

A - u e mater s a l - u a - t o - r i s

nostri

terminus

do-loris

Uirga Nostri 2.

Ies-se cu-ius flo-ris ter-minis do-lo-ris

mater es et f i - l i - a . confert nobis gaudi-a. 3. Angelici uerbum oris nostri terminus doloris de supernis missum oris te repleuit gratia. Nostri terminus doloris confert nobis gaudia.

Moyses ardentem foris nostri terminus doloris uidit rubum sed ardoris non passus incendia. Nostri terminus doloris confert nobis gaudia.

E x . 11 .24.7 is a n e x a m p l e of w h a t h a s b e e n c a l l e d a ' L a t i n r o n d e a u ' , b y a n a l o g y w i t h t h e F r e n c h v e r n a c u l a r r o n d e a u of A d a m d e l a H a l l e a n d h i s c o n t e m p o r a r i e s . I t is easiest t o r e p r e s e n t i t s c o n s t r u c t i o n s c h e m a t i c a l l y . T h e m u s i c u s e s o n l y t w o m e l o d i c u n i t s , i n t h e o r d e r A A A B A B , t h e t e x t i n c l u d e s t h e first h a l f o f t h e r e f r a m w i t h i n t h e s t r o p h e , t h e n t h e f u l l r e f r a i n at t h e e n d : strophe line 1 refrain line 1 s t r o p h e lines 2, 3 r e f r a i n l i n e s 1, 2

I n F r e n c h v e r n a c u l a r r o n d e a u x t h e p r a c t i c e w a s u s u a l l y to s i n g t h e f u l l r e f r a i n at the b e g i n n i n g also. O n e J3ther i m p o r t a n t f o r m was used m o r e rarely i n the Latin liturgical song for r e p e r t o r y t h a n f o r s e c u l a r L a t i n s o n g s (the s o - c a l l e d ^ N o t r e - D a n ^

e x a m p l e ) : t h a t o f t h e s e q u e n c e , o r l a i , as it h a s s o m e t i m e s b e e n c a l l e d i n t h i s c o n t e x t . T h e p a i r e d ^ e r s e _ s . t x . u c t u r e of t h e s e q u e n c e is a l r e a d y v i s i b l e i n E x . 1 1 . 2 4 . 3 . T h e . b e s t k n o w n e x a m p l e is Alto Deusen 1982, 50.) consilio, f o u n d i n t h e B e a u v a i s festal o f f i c e a n d s e v e r a l o t h e r E d i t i o n s b a n d , 1 5 7 ; S t a b l e i n 1966, 'Musik'; Van s o u r c e s ( f o r e d i t i o n s see A r l t 1970,

W h a t d i s t i n g u i s h e s s u c h pieces f r o m the m o r e u s u a l r h y m e d

s e q u e n c e is t h e j J 3 y l h j T n c . v a r i e t y i n t h e i r t e x t s a n d t h e t e n d e n c y t o b u i l d s t r o p h e s o u t of a s u c c e s s i o n of p h r a s e s of d i v e r s e l e n g t h a n d r h y t h m .

( i v ) Twelfth-Century

Songs:

Liturgical

Function one of three i n the m a n u s c r i p t i n the

E x . I I . 2 4 . 8 is a n o t h e r s o n g f r o m P a r i s 1139,
J

v e r n a c u l a r , o r m i x i n g l^tjua,.ajad rQyengal ( i n v e n t o r i e s i n S p a n k e 1 9 3 0 - 2 a n d S a r a h F u l l e r 1 9 6 9 ) . Be deu hoi mais n e a t l y i l l u s t r a t e s s e v e r a l of t h e j p r o b l e m s s u r r o u n d i n g t h a t i s , of t h e y e r s i c l e s u n g (see Be m a n y of the songs f o u n d i n the t w e l f t h - c e n t u r y sources. T h e c o m p o s i t i o n has been c a l l e d ( s i n c e G a u t i e r 1886, 169) a t r o p e of t h e Tu autem, a f t e r t h e e n d o f a l e s s o n i n t h e o f f i c e . Y e t o n l y t h e start of t h e text ' T u a u t e m d o m i n e m i s e r e r e n o b i s R . D e o g r a t i a s ' is q u o t e d , a n d t h e r e is n o m u s i c a l c o r r e s p o n d e n c e Tones deu f o r t h e L e s s o n s i n LU). a p p r o p r i a t e t e r m t o u s e . B y a n a l o g y w i t h o t h e r e x a m p l e s , it s e e m s p o s s i b l e t h a t w a s a s u b s t i t u t e f o r t h e Tu 1139 is t h e first of autem three versicle. twelfth-century Aquitanian supernis (fo. 33 )
v

It is t h e r e f o r e q u e s t i o n a b l e w h e t h e r ' t r o p e ' is a n

Baris contains (fo. 32 )

r

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' B e n e d i c a m u s ' r u b r i c , a n d i n fact a n n o u n c e s that a l e s s o n is a b o u t to be r e a d . A n d t h i s is t h e first of m a n y t w e l f t h - c e n t u r y e x a m p l e s of s o n g s e v i d e n t l y i n t e n d e d to i n t r o d u c e t h e r e a d i n g of a l e s s o n . ( O n e h a s a l r e a d y b e e n g i v e n a b o v e as E x . I I . 2 4 . 6 . ) T h e r i t u a l w o r d s w i t h w h i c h t h e l e c t o r asks t h e o f f i c i a n t ' s b l e s s i n g b e f o r e r e a d i n g a l e s s o n i n t h e o f f i c e is t h e v e r s i c l e jfube domne benedicere (LU 1 1 9 - 2 1 ) . A n d the w o r d s iubilemus, in word i n t h e m a n u s c r i p t i t is ' J u b e d o m n e ' d o i n d e e d a p p e a r at t h e e n d of o n e s o n g , Congandentes t h e x N o r m a n - S i c i l i a n t r o p e r M a d r i d 2 8 9 ( c a l l e d a conductus versus

t h e e a r l i e s t s o u r c e to c a r r y t h i s w o r d as a r u b r i c , w h i c h is e q u i v a l e n t to t h e n o t u s e d . Thrtejube

i n P a r i s 1 1 3 9 ) . A s w i t h t h e ' T J J a u t e m ' s o n g , t h e m u s i c o f t h e o r i g i n a l t o n e is s o n g s also a p p e a r i n t h e s o - c a l l e d ' C o d e x C a l i x t i n u s ' ( S a n t i a g o

de C o m p o s t e l a ) , d a t i n g f r o m t h e J 1 6 0 s , s o m e t w e n t y years later t h a n M a d r i d 289 (ed. W a g n e r 1 9 3 1 , 3 9 - 4 0 , 9 4 - 6 , a l l c a l l e d ' C o n d u c t u m ' a n d e n d i n g ' L e c t o r lege et d e r e g e , q u i regit o m n e , die l u b e d o m n e ' ) . Of all songs apparently designed to final introduce strophe: hec ergo c o n c i o q u i d dicat lectio Laudes a l e s s o n , ^Resonet in tone t. w a s e v i d e n t l y t h e m o s t p o p u l a r . W i t h its ] M u n d a sit Audiat
!

pura sit sentiat

it s e e m s e q u i v a l e n t t o & jfube s o n g , a n d a p p e a r s i n f r o n t of a n x p i s j l e w i t h farse deo die am per secula (see private hands Cambridge, century). deo 144-5). Stablein 1975, 144 n . 8). It is also f o u n d i n t h e it is a m a l g a m a t e d

i n M a d r i d 2 8 9 a n d a B e n e v e n t a n s o u r c e of t h e s a m e p e r i o d i n song-book Laudes 1975,

U n i v e r s i t y L i b r a r y F f . i . 17 ( N o r m a n o r E n g l i s h , t w e l f t h - t h i r t e e n t h with

B u t i n two other south Italian sources

a n d u s e d as a farse t h r o u g h o u t t h e e p i s t l e ( p a r t i a l f a c s . a n d e d n . , S t a b l e i n

W h e n a s^ong is p l a c e d i n f r o n t of t h e e p i s t l e i n t h i s w a y t h e r e c a n b e n o d o u b t t h a t it f u n c t i o n e d as a p r e l u d e to t h e r e a d i n g of t h e l e s s o n . B u t n e a r l y a l l s o n g s i n t h e s e sources l a c K r u b r i c s to^ p l a i n . E v e n i n the ' C o d e x C a l i x t i n u s ' the C i r c u m c i s i o n o f f i c e s of S e n s ( V i l l e t a r d story s o n g s are c o p i e d s e p a r a t e l y i n s u p p l e m e n t s to t h e m a i n b o d y of l i t u r g i c a l m a t e r i a l . F o r t u n a t e l y , t h e r e i s , . a m p l e e v i d e n c e ..in j h e 1907) a n , d ^ B e a u v a i s ( A r l t 1970) as t o t h e use of t h i s t y p e of m a t e r i a l . ( T h e conclude first

c o n t i n u e s i n t h e L e P u y o f f i c e , t e x t e d . C h e v a l i e r 1 8 9 4 ; see a l s o A r l t 1 9 7 8 . ) T h u s i n t h e S e n s o f f i c e , B e n e d i c a m u s s o n g s , as o n e w o u l d e x p e c t , Compline, Laj^cjs^ P r i m e , T e r c e , Sext, N o n e , and second deo songs for the Vespers, are no Vespers. There

b u t t h e r e is a ' C o n d u c t u s a d s u b d i a c o n u m ' b e f o r e t h e farse), a n d a ' Q o n d u c t u s a d e v a n g e l i u m '

j y x i s d e a t ^ M a s s ( w h i c h has t h e Laudes

b e f o r e t h e g o s p e l . N e i t h e r ^ s o n g i n c l u d e s r i t u a l ^ w o r d s o r c o n t a i n s a n . i n v i t a t i o n to b e g i n t h e r e a d i n g , b u t t h e i r f u n c t i o n of a c c d m p a n y i n g t h e a p p r o a c h t o t h e l e c t e r n o f the s u b d e a c o n and deacon respectively seems clear. T h e JBeauyais office m a k e s e v e n m o r e c o 1 ojurXu 1 p r o y isi o n b y h a v i n g c o n d u c t u s fox e a c h l e s s o n o f M a t i n s . a s w e l l ( t a b l e i n A r l t 1970, D a r s t e l l u n g s b a n d , 9 7 ) , a n d o n e of t h e s e i n c l u d e s a n i n v i t a t i o n to t h e f o r t h e fifth l e s s o n , e n d s ' L e g a t u r i n g a u d i o l e c t i o ' ( A r l t r e a d e r : Nostrifestigaudium,

1970, E d i t i o n s b a n d , 5 9 ) . A f t e r each l e s s o n , .a,lBndi.Gtia!..is..su.&gthe e q u i v a l e n t of, o r s u b s t i t u t e f o r , jfube clomnewhich a c t u a l l y l i f t s a s e c t i o n o u t of s o m e a p p r o p r i a t e c h a n t , u s u a l l y a s e q u e n c e . G o i n g o n e b e t t e r t h a n S e n s , t h e B e a u v a i s o f f i c e s p l i t s the s o n g f o r t h e g o s p e l i n j ^ t w p _ p j r t s , so t h a t t h e ^ c o j n d p a r t i s . ^ u n g w h i l e t h e d e a c o n r e t ^ n s ^ T 6 n ^ e "altar area after t h e g o s p e l ( A r l t 1970, Editionsband, 114-16). The c a p a c i t y of t h e B e a u v a i s r e d a c t o r to farse h i s j [ t u r g y s e e m s u n l i m i t e d . P r i m e s o u r c e s f o r l i t u r g i c a l s o n g s i n l a t e r c e n t u r i e s are t o b e f o u n d i n e a s t e r n m a n u s c r i p t s s u c h as t h e ' M q o s b m g J G r a d u a L ' ( S p a n k e 1 9 3 0 ; 1957) t h e ' % c k a ^ j C a n t i o ^ MGG). (See also J a m m e r s ,
4

S t e i n 1956;

Lipphardt

( I r t e n k a u f 1956), a n d the P r a g u e ' c a n t i o n a l e s ' ( O r e l C a n t i o \ MGG a n d NG\ S t a b l e i n 1975, 75 n . 7 6 8 lists are

1922; O r e l , ' H o r n o f , ~ a n d V o s y k a 1921; N e j e d l y 1 9 5 4 - 6 ; B u z g a ' K a n t i o n a l ( t s e c h i s c h ) ' , s o m e t w o d o z e n s o u r c e s , w i t h b i b l i o g r a p h y . ) T h e t e r m s can t ion ale these sources and their contents should^ not o b s c u r e a n d cantio u s e d of indeed,

t h e fact t h a t t h e s o n g s

g e n e r i c a l l y a n d s t y l i s t i c a l l y i d e n t i c a l to t h e i r t w e l f t h - c e n t u r y p r e d e c e s s o r s ; t h e m a n u s c r i p t s p r e s e r v e m a n y of t h e s a m e ^ m p o j ^

p r o l o n g i n g t h e i r u s e f u l life

d o w n t o t h e e n d of t h e M i d d l e A g e s . A s i n t h e e a r l y d a y s , B e n e d i c a m u s s o n g s are e a s i l y t h e m o s t c o m m o n of t h o s e t h a t r e f e r t o a l i t u r g i c a l f o r m u l a (see, f o r e x a m p l e , t h e f o u r t e e n t h - c e n t u r y c o l l e c t i o n i n A o s t a , S e m i n a r i o M a g g i o r e 9 . E . 19, d i s c u s s e d b y Harrison The 1965). of L a t i n laude (if t h a t is t h e correct term) are also JJxm r e l a t e d , a g a i n i n c l u d i n g conxLordances w i t h the n o r t h e r n repertories, Italian repertories

^ylis^ajlly although

their functionas

p a r t of n o n - l i t u r g i c a l r e l i g i o u s exercisessetjs.,

a p a r t . M o s t are w r i t t e n i i ^ a l k t a f o r m , w h i c h is a b s e n t f r o m t h e n o r t h e r n r e p e r t o r i e s , d e s p i t e t h e p r e d i l e c t i o n f o r r e f r a i n s o n g s . (See D a m i l a n o 1963 o n t h e m o s t s u b s t a n t i a l collection, T u r i n , Bobbio.) T h e f u r t h e r j h e s t y l e of s u c h p i e c e s m o v e s f r o m that of t h e e a r l i e s t p a r t s of the ' G r e g o r i a n ' r e p e r t o r y , t h e m o r e it has i n s p i r e d ^ w r i t e r s to s u r m i s e l i n k s w i t h s e c u l a r music and vernacular repertories. Given the scanty records of secular music the ( e x c e p t i n g t h e s p e c i a l c o u r t l y r e p e r t o r i e s of t r o u b a d o u r a n d t r o u v e r e s o n g s ) , s a f e l y b e a s s e r t e d , h o w e v e r , that w i t h t h e - a s s u n i l a l j j ^ theJfeJal.Jk|u^rgies of m a n y p r o m i n e n t c h u r c h e s , the c h a n t , r e p e r t o r y a c h i e v e d a c o l o u r a n d v a r i e t y u n i m a g i n a b l e i n p r e v i o u s c e n t u r i e s a n d s t i l l a s o u r c e of s u r p r i s e d j o y to t h o s e f o r t u n a t e e n o u g h to e n c o u n t e r i t . B i b l i o t e c a N a z i o n a l e U n i v e r s i t a r i a , F . I. 4, a n a n t i p h o n e r f r o m

d i f f i c u l t i e s , Q L d e f i n i n g s t y l e s w h i c h m i g h t be t y p i c a l l y s e c u l a r are c o n s i d e r a b l e . It c a n

11.25.

L I T U R G I C A L

D R A M A S

(i) L i t u r g y and D r a m a (ii) T h e Quern queritis Dialogue (iii) Easter Ceremonies f r o m the E l e v e n t h C e n t u r y O n w a r d

(iv) C h r i s t m a s and E p i p h a n y C e r e m o n i e s ; Rachel's and M a r y ' s L a m e n t s (v) R h y m e d C e r e m o n i e s ; the ' F l e u r y P l a y b o o k ' ; the Ludus Danielis E . A . S c h u l e r 1951; L i p p h a r d t , ' L i t u r g i s c h e D r a m e n ' , MGG; Stratman 1972; Stevens, ' M e d i e v a l D r a m a , I I . L i t u r g i c a l D r a m a ' , A T ; ; R a n k i n 1981, ' M u s i c ' ; N o r t o n 1983; N o r t o n 1987. Editions: Coussemaker 1861; Y o u n g 1933 (all ceremonies then k n o w n , texts o n l y ) ; D o n o v a n 1958 (texts f r o m S p a i n ) ; L i p p h a r d t 1975-81 (texts of all k n o w n Easter c e r e m o n i e s ) ; R a n k i n 1981, ' M u s i c ' (north F r e n c h and E n g l i s h ceremonies); C a m p b e l l and D a v i d s o n 1985 (facsimile of Orleans, B i b l i o t h e q u e M u n i c i p a l e 201).

(i) Liturgy

and

Drama first

A g r e a t p a r t of t h e l i t u r g y is m e d i t a t i o n a l ; t h e s e q u e n c e of o f f i c e h o u r s , a n d t h e

p a r t of m a s s , t h e A n t e - c o m m u n i o n o r M a s s of t h e C a t e c h u m e n s . P r a y e r a n d p r a i s e are j o i n e d to r e a d i n g s f r o m s a c r e d t e x t s to i n s p i r e d e v o t i o n a n d r e c o l l e c t i o n of G o d ' s w o r k i n t h e w o r l d . T h e s e c o n d p a r t of m a s s , t h e M a s s of t h e F a i t h f u l , is o f a d i f f e r e n t character, a c o m m e m o r a t i o n of t h e L a s t S u p p e r i n w h i c h p r i e s t a n d actions first congregation p e r f o r m again the s i m p l e a n d essential p e r f o r m e d b y C h r i s t a n d his

d i s c i p l e s . A t a t i m e w h e n c o m m u n i o n f o r m o s t of t h o s e p r e s e n t w a s r a r e (as it w a s t h r o u g h o u t t h e M i d d l e A g e s ) , o n e m a y ask h o w m u c h t h e m a s s w a s t h o u g h t of as a commemorative r i t u a l act a n d h o w m u c h as a s p e c t a c l e p e r f o r m e d t o i n s p i r e the d e v o t i o n of n o n - p a r t i c i p a n t s . W h a t e v e r t h e case m a y b e , t h e p r i n c i p l e ' D o t h i s i n r e m e m b r a n c e of m e ' c o u l d b e e x t e n d e d to j u s t i f y o t h e r a c t i o n s . T h u s at t h e p r o c e s s i o n o n P a l m S u n d a y , b r a n c h e s w e r e c a r r i e d a n d t h e p e o p l e c a l l e d ' H o s a n n a ' , j u s t as w h e n Christ entered H a r d i s o n 1965, example. A Here Jerusalem (see Amalarius' remarks: not merely Hanssens, subject ii. 58-9, of cited by and The 111). T h e w a s h i n g of t h e feet at the M a n d a t u m c e r e m o n y is a n o t h e r p a r t i c u l a r e v e n t s are re-enacted. the meditation

interpretation, but number

of s y m b o l i c acts r u n p a r a l l e l to these l i t e r a l r e p r e s e n t a t i o n s .

D e p o s i t i o n c e r e m o n i e s , w h e r e t h e h o s t o r a c r o s s w a s b u r i e d o n G o o d F r i d a y , to b e b r o u g h t u p a g a i n o n E a s t e r D a y , are s y m b o l i c r e - e n a c t m e n t s of C h r i s t ' s b u r i a l a n d r e s u r r e c t i o n (see Y o u n g 1933, c h . 4). H a r d i s o n g i v e s a m p l e d e m o n s t r a t i o n of the be p r o p e n s i t y of A m a l a r i u s (a f e w o t h e r w r i t e r s f o l l o w h i m ) to i n t e r p r e t e l e m e n t s of t h e l i t u r g y s y m b o l i c a l l y , t h o u g h it is u n l i k e l y t h a t a l l w e r e o r i g i n a l l y i n t e n d e d to symbolic. A m a l a r i u s ' w r i t i n g s are o n e m a n i f e s t a t i o n of a d e s i r e d e t e c t a b l e i n m a n y a s p e c t s of n i n t h - a n d t e n t h - c e n t u r y l i t u r g i c a l p r a c t i c e to m a k e t h e l i t u r g y m o r e v i v i d l y and topical. T h e perhaps against a d d i t i o n of t r o p e v e r s e s to i n t r o i t s a n d o t h e r c h a n t s is present another act, have rare.

e x a m p l e , w h e r e p r e v i o u s l y n e u t r a l t e x t s are e x p l i c i t l y k e y e d to p a r t i c u l a r t h e m e s . It is t h i s b a c k g r o u n d t h a t t h e a d d i t i o n of a n e w r e p r e s e n t a t i o n a l d i a l o g u e , s h o u l d be u n d e r s t o o d . of t h e words 'drama' and 'play', I is r o u g h l y e q u i v a l e n t m e d i e v a l t i t l e ludus m o d e r n connotations for the c e n t r e d o n t h e Quern queritis I n v i e w o f the generally avoided them,

M e d i e v a l t e r m s , w h e r e p r e s e n t , are u s u a l l y officiian

o r ordo. T h i s m a y b e t r a n s l a t e d as

' c e r e m o n y ' , a w o r d w h i c h r e m a i n s e v o c a t i v e of t h e l i t u r g i c a l c o n t e x t .

(ii) The

Quern queritis

Dialogue

S o m e t i m e i n t h e n i n t h c e n t u r y a n a d j u n c t to t h e E a s t e r l i t u r g y w a s c o m p o s e d , a s i m p l e d i a l o g u e b e t w e e n a n angel a n d the M a r y s v i s i t i n g C h r i s t ' s t o m b o n m o r n i n g , t h e f a m o u s Quern queritis Easter d i a l o g u e . A b o u t its o r i g i n a n d t h e w a y i n w h i c h it

was first p e r f o r m e d w e are i g n o r a n t . T h a t it a c h i e v e d w i d e d i s t r i b u t i o n a l r e a d y i n t h e t e n t h c e n t u r y s u g g e s t s t h a t it w a s c o m p o s e d i n t h e n i n t h , b u t i n t h i s , as i n its p l a c e of o r i g i n , s c h o l a r s are i n d i s a g r e e m e n t ( f r o m a n e x t e n s i v e l i t e r a t u r e o n t h e s u b j e c t m a y be c i t e d d e B o o r 1 9 6 7 ; Sometimes R a n k i n 1985, 'Quern queritis'; Davril 1986). In the tenthDay. c e n t u r y s o u r c e s it c o u l d c l e a r l y o c c u p y o n e of s e v e r a l d i f f e r e n t p l a c e s i n t h e l i t u r g y . it a p p a r e n t l y p r e c e d e d t h e I n t r o i t Resurrexi of M a s s o n E a s t e r S o m e t i m e s it w a s p a r t of t h e p r o c e s s i o n b e f o r e m a s s , w h i c h c o u l d c o n v e n i e n t l y m a k e a s t a t i o n b y a ' s e p u l c h r e ' w h e r e t h e d i a l o g u e w o u l d be s u n g . S i n c e m o s t e a r l y s o u r c e s l a c k s p e c i f i c r u b r i c s , it is u s u a l l y i m p o s s i b l e to d i s t i n g u i s h b e t w e e n t h i s u s a g e a n d t h e p r e v i o u s . A n o t h e r p l a c e w a s at t h e e n d of t h e f o l l o w i n g t h e last r e s p o n s o r y ( u s u a l l y Dum see M c G e e 1 9 7 6 , a n d B j o r k 1980, N i g h t Office on Easter sabbatum, morning, transisset which appropriately

sets t h e s c e n e ) , a n d p r e c e d i n g t h e T e D e u m . ( O n t h e v a r i o u s l i t u r g i c a l a s s i g n m e n t s , 'Dissemination'.) and/or and Ex. word T h e d i a l o g u e appears i n m a n y f o r m s , w h e r e extra verses u s u a l l y precede of c o n t r o v e r s y . ) T h e v e r s i o n i n E x . 1 1 . 2 5 . 1 has o n e e x t r a v e r s e b e f o r e (Hora o n e a f t e r (Alleluia) a n d lesum same t h e Quern queritis est hie exchange. a n d Ite O t h e r s o u r c e s h a v e Quern . . . surrexit, Nazarenum but

s u c c e e d a r e l a t i v e l y s t a b l e c o r e . ( W h a t c o n s t i t u t e s t h e ' o r i g i n a l ' c o r e is a l s o t h e s u b j e c t est) queritis

a f o u r t h l o w e r , i n D - m o d e (as i n t h e n e x t e x a m p l e , nuntiate s o u n d relatively higher, like an exultant climax. The

1 1 . 2 5 . 2 ) . T h e n e x t v e r s e s , Non D-mode, ' d i c e n t e ' is n o t a l w a y s p r e s e n t ,

are t h e n i n t h e

for it s i m p l y p r o v i d e s a l i n k t o t h e n e x t v e r s e . It is a n d lesion F-a-c. est Nazarenum: (C-D in transposition), while in

w o r t h n o t i n g t h e m u s i c a l s i m i l a r i t i e s b e t w e e n Quern queritis b o t h b e g i n a n d e n d w i t h s u b - p h r a s e s c a d e n c i n g F-G

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c a n b e f o u n d n o t o n l y i n I t a l i a n b u t also i n F r e n c h , C a t a l o n i a n , a n d G e r m a n resurrexit for the is e q u a l l y w i d e , a n d a l i t t l e less t h i n . S o m e s o u r c e s h a v e a d d i t i o n a l v e r s e s only particular the

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c o m b i n a t i o n o f v e r s e s ) t h e r e is n o u n e q u i v o c a l r u b r i c . It s e e m s t h a t o n e g r o u p o f singers, r e p r e s e n t i n g the angels, has t a k e n u p a p o s i t i o n b e h i n d t h e a l t a r ( i n c l o s e l y s i m i l a r c e r e m o n y f r o m P i a c e n z a t h e y are l e d b y t h e c a n t o r : see Y o u n g 1933,

i . 2 1 6 ) , w h i l e t h e s c h o l a , r e p r e s e n t i n g t h e M a r y s , s i n g s i n t h e c h o i r . F o r t h e final v e r s e all c o m e t o g e t h e r i n t h e c h o i r . J u s t w h e n t h i s c e r e m o n y w o u l d h a v e b e e n s u n g is n o t

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c l e a r : i n P i a c e n z a it f o l l o w e d T e r c e , w h i c h m e a n s at t h e p o i n t w h e n t h e p r o c e s s i o n before mass w o u l d have b e e n m a d e . It seems l i k e l y t h e r e f o r e that these c h a n t s w e r e t h e last t o b e s u n g b e f o r e m a s s i t s e l f , a n d w o u l d h a v e b e e n f o l l o w e d b y t h e i n t r o i t . (See t h e m o r e e x p l i c i t r u b r i c s f r o m o t h e r I t a l i a n c h u r c h e s g i v e n b y Y o u n g , i . 2 1 5 - 1 6 a n d 2 2 8 - 9 , M c G e e , 1 2 - 1 3 . ) B u t i n t h i s case t h e y d o n o t l e a d d i r e c t l y i n t o as a t r o p e . It m u s t b e a d m i t t e d t h a t o n l y o n e o f t h e m a n y v e r s e s w h i c h w e r e u s e d t o c o n c l u d e the l i t t l e c e r e m o n y c l e a r l y n e e d s a s u c c e e d i n g t e x t : t h i s is Eia Christi w h i c h i n t w o s o u r c e s l e a d s i n t o Resurrexi, carissimi verba canite i n another into the T e D e u m , a n d liturgical Resurrexi

i n a f o u r t h m a n u s c r i p t h a s n o i n d i c a t i o n of t h e n e x t c h a n t . T r a d i t i o n a l

a n t i p h o n s ( t h e i r t e x t , t h a t i s , if n o t a l w a y s t h e i r m u s i c ) are s o m e t i m e s i n c l u d e d i n t h e scene. A g r o u p of sources f r o m the R h i n e - M o s e l area, a n d W i n c h e s t e r , h a v e dominus enim de sepulchro dixit ( C I O 5079), some Swiss and south G e r m a n ones have euntes ( 1 8 1 3 ) a n d Venite et sicut ( 5 0 8 1 ) , W i n c h e s t e r has Cito Surrexit Surrexit videte

( 5 3 5 2 ) . A n o t h e r v e r s e is c l e a r l y not s u n g b y t h e M a r y s , f o r it sets t h e s c e n e as w e l l , b e i n g a l i t e r a l s e t t i n g of M a r k 16: 3 : ' E t d i c e b a n t a d i n v i c e m : Q u i s r e v o l v e t n o b i s l a p i d e m ab o s t i o m o n u m e n t i ? A l l e l u i a , a l l e l u i a . ' It is i n fact a n o t h e r o f f i c e a n t i p h o n (CAO 2697) drafted into a new setting. England. The 775, A l u c h m o r e e x p l i c i t l y representational t h a n the P i s t o i a version a n d the o t h e r Italian o n e s j u s t m e n t i o n e d is t h e v e r s i o n k n o w n f r o m late t e n t h - c e n t u r y complete and a full text with notation is p r e s e r v e d ceremony i n the two tropers from Winchester, Regularis the

C a m b r i d g e , C o r p u s C h r i s t i C o l l e g e 473 a n d O x f o r d , B o d l e i a n L i b r a r y , B o d l e y d e s c r i p t i o n of t h e survives i n two copies of t h e Concordia,

g u i d e - l i n e s for E n g l i s h m o n a s t i c life d r a w n u p i n the w a k e of a c o u n c i l T h i s a l l - i m p o r t a n t d e s c r i p t i o n says s p e c i f i c a l l y t h a t Concordia,

h e l d at W i n c h e s t e r c . 9 7 3 .

c e r e m o n y is p e r f o r m e d ' i n i m i t a t i o n of t h e a n g e l s e a t e d o n t h e t o m b a n d of t h e w o m e n c o m i n g w i t h p e r f u m e s to a n o i n t t h e b o d y of J e s u s ' (Regularis 1953, 50). ed. Symons T h e m o n k r e p r e s e n t i n g t h e a n g e l has a s y m b o l i c p a l m i n h i s h a n d , t h e monks wear the

t h r e e b r e t h r e n w h o are t h e M a r y s c o m e 'as t h o u g h s e a r c h i n g f o r s o m e t h i n g ' . O n e s h o u l d n o t o v e r - e m p h a s i z e t h e n a t u r a l i s m of the s c e n e . T h e not a historical reconstruction of past events, but l i t u r g i c a l v e s t m e n t s a n d c a r r y t h u r i b l e s i n s t e a d of r e a l o i n t m e n t s . T h e c e r e m o n y is a v i v i d d e m o n s t r a t i o n to c o m m u n i t y t h a t C h r i s t is r i s e n , t h e r e a n d t h e n . W h e n the s c e n e is o v e r T e D e u m is s u n g , w i t h t h e b e l l s of t h e c h u r c h r i n g i n g t h e w h i l e . W h a t is i n t e n s e l y m o v i n g a b o u t t h i s s t a r k l y s i m p l e s c e n e h a s n o t h i n g to d o w i t h t h e c h a r a c t e r i d e n t i f i c a t i o n w h i c h is t h e e s s e n c e of m o d e r n d r a m a , b u t c o m e s f r o m t h e d i s t i l l a t i o n of t h e E a s t e r into a few brief utterances. Realism is marginal, would even have impoverishment, for the m o r e specific the r e p r e s e n t a t i o n , the m o r e the miracle been an symbolic

o v e r t o n e s are l o s t . N o t h i n g i n the b i b l i c a l n a r r a t i v e suggests that the a n g e l h o l d s a p a l m , b u t it b r i n g s to m i n d J e s u s ' t r i u m p h a l e n t r y i n t o J e r u s a l e m a w e e k e a r l i e r , b i n d s t h e s c e n e to t h e e v e r - p r e s e n t s a c r e d h i s t o r y . T o d r e s s the m o n k s i n w o m e n ' s g a r m e n t s w o u l d m a k e t h e m t o t a l l y f o r e i g n to t h e r e l i g i o u s c o m m u n i t y . W h e n t h e a n g e l s i n g s ' V e n i t e et v i d e t e l o c u m ' h e is n o t m e r e l y e n u n c i a t i n g t h e b i b l i c a l t e x t , b u t a c t u a l l y s i n g i n g a l i t u r g i c a l a n t i p h o n w i t h that t e x t , m a k i n g the c e r e m o n y p a r t o f t h e e t e r n a l liturgical cycle. W e are e x c e p t i o n a l l y f o r t u n a t e i n h a v i n g so e a r l y a d e s c r i p t i o n of the c e r e m o n y , f o r e a r l i e r c o p i e s of t h e t e x t a n d m u s i c ( a n d m a n y l a t e r o n e s ) are q u i t e u n s p e c i f i c i n t h i s r e s p e c t . T h e q u e s t i o n of w h e t h e r the s c e n e w a s a c t e d m o r e o r less r e a l i s t i c a l l y f r o m the beginning is, however, beside the point, for not even the most specific core d e s c r i p t i o n s , s u c h as t h e W i n c h e s t e r o n e , a i m f o r r e a l i s m . Sources of t h e t e n t h c e n t u r y , a n d m a n y l a t e r o n e s , d o n o t g o b e y o n d t h e queritis in d i a l o g u e , u s u a l l y w i t h a few a c c o m p a n y i n g verses. A l r e a d y d u r i n g this early p e r i o d t h e v e r s e s w e r e a d a p t e d f o r o t h e r s e a s o n s , C h r i s t m a s (Quern presepe

m a i n l y F r e n c h a n d N o r t h I t a l i a n s o u r c e s ) a n d A s c e n s i o n (Quern ascendissemainly ( i i i ) Easter French sources). Century Onward

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F r o m the later eleventh c e n t u r y o n w a r d the s i m p l e d i a l o g u e was often enlarged w i t h extra m a t e r i a l , w h i l e a few sources arrange new episodes f r o m the Easter story. The l a t t e r t e n d to d i f f e r c o n s i d e r a b l y f r o m e a c h o t h e r i n t e x t a n d m u s i c , w h i c h p r o v i d e s f a s c i n a t i n g m a t e r i a l f o r t h e s t u d y of i n t e r r e l a t i o n s h i p s b e t w e e n t h e t r a d i t i o n s a n d of d i f f e r i n g c o n c e p t s of r e p r e s e n t a t i o n a l c e r e m o n i e s . I n s t e a d of a t t e m p t i n g to m e n t i o n o n e of t h e e a c h s o u r c e of n e w m a t e r i a l , I h a v e c h o s e n to d e s c r i b e b r i e f l y t h e r e a s o n a b l y t y p i c a l c o n t e n t s of just one m a n u s c r i p t : M a d r i d , B i b l i o t e c a N a c i o n a l V . 2 0 - 4 , N o r m a n - S i c i l i a n m a n u s c r i p t s of t h e t w e l f t h c e n t u r y . F e w s o u r c e s h a v e q u i t e so m u c h m a t e r i a l a l t o g e t h e r as t h i s s o u r c e . F o r t h e N i g h t O f f i c e of E a s t e r m o r n i n g t h e r e is t h e t r a d i t i o n a l s c e n e f o r t h e M a r y s a n d t h e a n g e l , m u c h e x p a n d e d f r o m the t e n t h - c e n t u r y v e r s i o n s ( E x . I I . 2 5 . 2 ) . A t t h e s t a r t e a c h M a r y s i n g s a s h o r t l a m e n t i n g verse, w h i c h leads i n t o a s e t t i n g o f a m o r e e x t e n s i v e b i b l i c a l e x t r a c t t h a n w a s e a r l i e r the case. T h e c o r e d i a l o g u e Quern queritis is n o t l i t e r a l l y some b i b l i c a l . T h e t e x t h e r e takes the n a r r a t i v e i n M a r k 16: 1 - 7 , w h i c h w a s a l s o the G o s p e l at M a s s o n E a s t e r D a y , as its s t a r t i n g p o i n t . S o m e is set w i t h o u t a l t e r a t i o n , paraphrased: Verse Q u i s revolvet Ecce lapis revolutus Nolite timere Quern queritis Hiesum Nazarenum N o n est h i e V e n i t e et v i d e t e Ecce locus Ite d i c i t e . . . precedet vos Ibi e u m videbitis Mark 3 cf. 6 cf. 6 6 7 7 7 4-5 cf. 6 16

F r o m t h e n o n the t e x t is n e w c o m p o s e d , t h o u g h the M a r y s r e p e a t t h e w o r d s of t h e a n g e l as t h e y g o to t e l l the g o o d n e w s . The way i n w h i c h the expansion of t h e older dialogue has been effected locus, is the sometimes a l l t o o c l e a r l y v i s i b l e . T h e t r a d i t i o n a l a n t i p h o n Venite et videte already

p a r a p h r a s e s t h e angel's i n v i t a t i o n to see the p l a c e w h e r e J e s u s h a d l a i n . Ecce

b i b l i c a l t e x t u n a l t e r e d , is a l m o s t s u p e r f l u o u s , t h o u g h w e m a y i m a g i n e a p a u s e b e t w e e n t h e t w o as t h e M a r y s a p p r o a c h the p l a c e m o r e c l o s e l y . ( T h e l a m e n t at t h e s t a r t e n d s w i t h a n i n c i p i t f o r the Quis the i n c i p i t i n the example.) revolvet v e r s e , as if the s c r i b e w a s c o p y i n g f r o m t w o d i f f e r e n t e x e m p l a r s a n d d i d not a m a l g a m a t e t h e m w h o l l y s u c c e s s f u l l y . I h a v e o m i t t e d

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r o a d to E m m a e u s , t h e ' P e r e g r i n u s ' ( p i l g r i m ) e p i s o d e , so c a l l e d b e c a u s e t h e t w o d o n o t r e c o g n i z e C h r i s t at f i r s t , b e l i e v i n g h i m to be a p i l g r i m ( L u k e 2 4 : Christ disappears at t h e e n d of t h e s c e n e , he t h e n r e t u r n s i n o r d e r to s h o w

d i s c i p l e s h i s w o u n d s ( L u k e 2 4 : 3 6 - 9 ) . T h e n e x t e p i s o d e i n t h e m a n u s c r i p t is M a r y M a g d a l e n e ' s e n c o u n t e r w i t h C h r i s t ( J o h n 2 0 : 1 1 - 1 8 ) . F i n a l l y , d o u b t i n g T h o m a s is portrayed (John 20: 24-9). textually T h e d i s t r i b u t i o n i n o t h e r m a n u s c r i p t s of s e t t i n g s of t h e s e e p i s o d e s is s o m e w h a t p a t c h y . P e r e g r i n u s p l a y s are f a i r l y w i d e s p r e a d . M a r y M a g d a l e n e e p i s o d e s a n d m u s i c a l l y r e l a t e d to t h i s o n e are r a r e l y f o u n d o u t s i d e n o r t h F r e n c h a n d E n g l i s h s o u r c e s ; s i m i l a r s c e n e s are p r e s e n t i n s o u r c e s f r o m G e r m a n y a n d f r o m B o h e m i a b u t w e r e c o n c e i v e d q u i t e i n d e p e n d e n t l y . A s c e n e w i t h T h o m a s is g i v e n i n o n l y f o u r o t h e r m a n u s c r i p t s : T o u r s , B i b l i o t h e q u e M u n i c i p a l e 927 ( f r o m n o r t h F r a n c e o r E n g l a n d ) , P a r i s , B i b l i o t h e q u e N a t i o n a l e , n . a . l . 1064 M u n i c i p a l e 201 (from Beauvais), Orleans, Bibliotheque (the ' F l e u r y P l a y b o o k ' ) , a n d M u n i c h , Bayerische Staatsbibliothck, the

e l m 4 6 6 0 a ( ' C a r m i n a B u r a n a ' ) ; i n the B e a u v a i s v e r s i o n t h e t e x t is v e r s i f i e d . N a t u r a l l y t h e r e is a c o m m o n r e c o u r s e (b) i n t h e s e s o u r c e s to d i a l o g u e d r a w n d i r e c t l y f r o m t h e c a s t i n g of t h e text i n t o v e r s e . g o s p e l s . W h a t t e n d s t o s e p a r a t e t h e m is (a) t h e m u s i c a l s e t t i n g , a n d (c) the n o n - b i b l i c a l m a t e r i a l they i n c l u d e ,

T h e r e is n o s p a c e h e r e f o r a f u l l d e m o n s t r a t i o n of a l l t h e s e p o i n t s . F o r t u n a t e l y , t h e M a r y M a g d a l e n e e p i s o d e has b e e n l u c i d l y a n a l y s e d b y R a n k i n ( 1 9 8 1 , ' M a r y ' ) . W e have a l r e a d y seen that l i t u r g i c a l a n t i p h o n s m a y be u s e d i n these scenes, (one needs o n l y to browse t h r o u g h the Easter section of, say, understandable Antiphonale e n o u g h w h e n so m u c h of t h e b i b l i c a l t e x t w a s set i n l i t u r g i c a l c h a n t s of t h i s s e a s o n the monasticum f o r t h i s to b e c o m e a p p a r e n t ; see B r o c k e t t 1 9 7 7 - 8 . ) W h a t is p a r t i c u l a r l y with

i n t e r e s t i n g is t h a t , as R a n k i n s h o w s , s o m e v e r s i o n s of t h e s c e n e r e t a i n t h e t r a d i t i o n a l m e l o d i e s for the a n t i p h o n s thus d r a f t e d i n t o use, w h i l e others replace t h e m n e w l y c o m p o s e d m u s i c ( R a n k i n 1981, ' M a r y ' , T a b l e 2 o n p . The i n c o r p o r a t i o n of p r e - e x i s t i n g m a t e r i a l raises 252). about the musical questions

c o n s i s t e n c y of t h e c o m p o s i t i o n . T h e T h o m a s s c e n e , as g i v e n i n M a d r i d V . 2 0 - 4 (Ex. II.25.3), includes four liturgical antiphons: AM Vidimus dominum N i s i videro D a t a est m i c h i Pax vobis! 0 Thoma 480 479 3782 4513 5079 Misi digitum Q u i a vidisti me S u r r e x i t d o m i n u s de s e p u l c h r o 465 2099 CAO mode D D G D G G E

A s m e n t i o n e d a b o v e , t h e last i t e m h a d p r e v i o u s l y b e e n u s e d i n t h e s i m p l e d i a l o g u e s c e n e . A c o n f l i c t b e t w e e n it a n d t h e o t h e r t r a d i t i o n a l a n t i p h o n s is u n d e r s t a n d a b l e , b u t w h y w e r e Nisi videro a n d Pax vobis n o t also m a d e i n G - m o d e ?

v

E x . I I . 2 5 . 3 . T h o m a s scene ( M a d r i d , B i b l . N a c . V . 2 0 - 4 , f o l . 107 )
Thomas autem non erat cum illis decern discipulis qui sunt in medio choro sed ueniens ex auerso ad illos decern discipulos et stabit. Qui surgentes dicant ei tribus uicibus:

tr

Vi-di-mus

do-mi-num.

Thomas respondit:

#
Ni-si ui-de-ro in manibus e-ius fi-xuram cla-uo-rum et mittam

^ *

digitum meum

in lo-cum cla-uo-rum

et mittam manum meam in la-tus e - ius non credam a l - l e l u - i a .

Tunc ueniat Ihesus et appareat omnibus discipulis dicens:

D a - t a est mi-chi

omnis po-testas

in ce-lo et in ter-ra

al-le-lu-ia al-le-lu-ia.

Item dicat solummodo:

Pax uobis.

Tho-ma

in-fer d i - g i - t u m tu-um hue

et

ui - de manus meas

et

pedes meos

et

af-fer

manum tu-am

' & et mitte in

0

*** ia-tus meum

0 0

* Vfc, et no-li

es - se

in-credu-lus sed f i - d e - l i s

al-le dicat:

lu-ia.

Thomas uertat uultum suum ad populum

F Mi-si

^ di - gi-tum meum in f i - x u - r a m cla-uorum

* et manum me-um in la-tus

e-ius

*
et d i - x i

al-le-lu-ia.

d o - m i - n u s me-us

et D e - u s me-us

Tribus uicibus dicat Dominus meus adorans. Et hoc facto dicat Ihesus Thome:

& . . . " . .
Qui-a

be-a-ti qui non ui-derunt et cre-di-derunt

ui-disti me Thomas cre-di - di - sti

al-le-lu-ia.

Tunc omnes discipuli uertant alta uoce:

se ad populum. Insimul dicant

Sur-re-xit

do-mi-nus

de s e - p u l - c h r o

qui pro nobis pepen-dit in

li-gno

le - l u - i a

al

le - lu - ia

a l - l e - l u - ia.

S u c h i n c o n s i s t e n c y , i f w e a r e t o r e g a r d i t as s u c h , m a y s t i l l p e r s i s t w h e n t h e s c e n e i s v e r s i f i e d a n d set t o n e w m u s i c . T h e B e a u v a i s v e r s i o n has t h e f o l l o w i n g t o n a l s t r u c t u r e : 1\M Pax vobis Videte manus meus S u r r e x i t d o m i n u s de s e p u l c h r o Vere T h o m a Pax vobis T h o m a nunc vulnera (rhymed) O Ihesu domine (rhymed) 479 4513 (rhymed) 478 4254 Nisi fixuram (rhymed) 5079 (not 478) CAO

mode E E E D D F D D G

Q u i a vidisti me

260

//. Chant

Genres
v

E x . I I . 2 5 . 4 . T h o m a s scene (Paris, B i b l . N a t . n . a. 1. 1064, fo. 10 )

Tunc ueniat Thomas qui defuerat. Et stanti in medio dicant ei duo pro aliis:

P
1
y

U e - r e Thoma qui destru-xit u i - d i - m u s do-minum mortis i m - p e - r i - u m . Quibus Thomas:

Ni-si fi-xu-ram ... at-que manum

9 ^ 3 clauorum ui - de - ro in la-tus mi-se-ro

4

et d i - g i - t o hoc s c i - a - t i s

j- w-uulnus p a l - p a - u e - r o nunquam c r e d i - d e - r o .

Tunc in medio ueniens dominus dicat omnibus:

Pax uobis

e-gosum

al-le-lu-ia

no-li-te

ti-mere

al-le-lu-ia.

Deinde dicat Thome:

# ^

#
et ostendat ei

Thoma nunc uulnera In-fer et d i - g i - t u m et iam i n - c r e d u - l u s

conspi - ce cor-po-ris in lo-cum uul-ne-ris in me ne fu - e - ris

ex-emplum f i - d e - i

prebendo

pos-te-ris.

T h e r h y m e d verses are a l l of a p i e c e : s y l l a b i c D - m o d e items f r a m e d b y l i t u r g i c a l a n t i p h o n s i n d i f f e r e n t m o d e s . T h e first t w o i t e m s are m u s i c a l l y s i m i l a r , p a r t i c u l a r l y i n t h e i r u s e o f t h e figure FEDEFG Surrexit dominus dominus. de a n d t h e c a d e n c e GaG-F ( f o u n d o n l y i n a h a n d f u l of Surrexit r e l a t i v e l y late l i t u r g i c a l a n t i p h o n s ) . N e i t h e r o f these f e a t u r e s is f o u n d i n t h e a n t i p h o n E x . 1 1 . 2 5 . 4 g i v e s p a r t of t h e s c e n e , c o n t i n u i n g f r o m already present given i n E x . II.25.2. i n the M a d r i d ( T h e whole sepulchro, verse is a l s o is e d i t e d b y

Coussemaker and Rankin.) Rhymed manuscript. A t the start of the P e r e g r i n u s s c e n e t w o o p e n i n g s are p r o v i d e d , o n e i f t h e p l a y is t o b e s u n g at V e s p e r s o n E a s t e r D a y , t h e o t h e r f o r V e s p e r s o n E a s t e r M o n d a y ( t h e e v e n i n g h o u r is a p p r o p r i a t e b e c a u s e o f t h e b i b l i c a l s e t t i n g ) . T h e first o p e n i n g b e g i n s w i t h t w o s t r o p h e s , o n e f o r e a c h d i s c i p l e , o f a r h y m i n g h y m n w i t h e i g h t s y l l a b l e s p e r l i n e (text i n Y o u n g 1 9 3 3 , i . 4 7 7 ) . A n o t h e r i m p o r t a n t f e a t u r e o f t h e p l a y is t h e u s e o f t h e s e q u e n c e paschali laudes Yictimae d u r i n g the M a r y M a g d a l e n e scene. T h e question to M a r y w h i c h

c o m e s i n the m i d d l e of the sequence (already g i v e n above, E x . I I . 2 2 . 9 ) can be w o r k e d

i n t o a m e e t i n g b e t w e e n M a r y a n d t h e d i s c i p l e s . T h e d i s c i p l e s s i n g t h e first verses of the s e q u e n c e . M a r y comes along and announces C h r i s t ' s resurrection. T h e b u t o n e of m a n y w a y s i n w h i c h Victimae ceremonies. Sometimes paschali laudes questiona n d - a n s w e r v e r s e s of the s e q u e n c e s f o l l o w , a n d the d i s c i p l e s s i n g t h e final p a i r . T h i s is was w o r k e d into the Easter sometimes o n l y the q u e s t i o n - a n d - a n s w e r verses were u s e d ;

t h e s e q u e n c e w a s m a d e p a r t of a s c e n e w i t h t h e t h r e e M a r y s . I n m a n y eastern sources the basis for expansion away f r o m the s i m p l e dialogue was rather 1987) different. The d i a l o g u e w a s recast t e x t u a l l y a n d m u s i c a l l y . N o r t o n ( 1 9 8 3 , h a s i d e n t i f i e d t h e c o r e of the n e w t r a d i t i o n as s e v e n , i n s t e a d of t h r e e v e r s e s , as

follows: Old tradition: New eastern tradition: mulieres

Q u i s r e v o l v e t n o b i s ab h o s t i o l a p i d e m Quern queritis in sepulchro I e s u m N a z a r e n u m . . . O celicole N o n est h i e s u r r e x i t Quern queritis O tremule N o n est h i e q u e r n q u e r i t i s A d monumentum Cernitis O socii T h e n e w s c e n e i n v o l v e s n e w a c t i o n , f o r t h e a n g e l ' s w o r d s Non Marys to t e l l the good news to t h e disciples, are monumentum grave-clothes paschali is t h e M a r y s ' a n n o u n c e m e n t . Currebant duo est hie, acted t e l l i n g the upon. Ad venimus 2081) C u r r e b a n t d u o s i m u l (CAO Iesum Nazarenum . . . querimus

immediately

tells h o w Peter a n d J o h n a n i n v i t a t i o n t o l o o k at t h e Victimae

r u n t o t h e t o m b . It is u s u a l l y t h e y w h o s i n g Cernitis laudes,

O socii,

a n d the e m p t y t o m b . E x p a n s i o n s of t h i s c o r e c o u l d i n c l u d e

i n c r e a s e d d i a l o g u e f o r t h e d i s c i p l e s , a n d so o n . T h e u s u a l s e q u e l is a ist erstanden to b e s u n g . revolvet in A After

c h a n t o f j o y f o r the s o l o i s t s o r t h e s c h o l a , a n d o f t e n t h e T e D e u m . M a n y l a t e r s o u r c e s d i r e c t t h e v e r n a c u l a r h y m n Christ T h e n e w m u s i c c e n t r e s a r o u n d E f o r t h e c e n t r a l v e r s e s , w i t h Quis

m o d e a n d t h e last t h r e e v e r s e s i n D . T h e t r a n s c r i p t i o n i n E x . I I . 2 5 . 5 is f r o m o n e of s e v e r a l s o u r c e s w h i c h t r a n s p o s e the c e n t r a l v e r s e s u p a f o u r t h t o a ( w i t h 6 b s ) . t h e u s u a l Dum transisset, m a d e t o a s e p u l c h r e , w h i l e t h e c h o i r s i n g s the a n t i p h o n Maria c o r e v e r s e s f o l l o w , t h e n v e r s e s f r o m Victimae choral refrain). Christ ist erstanden a n d the A l t h o u g h the l i t u r g i c a l a n t i p h o n Currebant allotted here to Peter a n d J o h n . O f t h e a u t h o r of the n e w , G e r m a n , f o r m of t h e d i a l o g u e , w e are as i g n o r a n t as i n t h e case of t h e o l d Quern queritis. is o n e This D e B o o r ( 1 9 6 7 ) has s u m m a r i z e d t h e m a i n t r a d i t i o n s , of Biblioteca Arcivescovile 234, by Aquileia's having received a g r a d u a l of t h e the ceremony late from w h i c h N o r t o n ( 1 9 8 3 ) sees A u g s b u r g as p e r h a p s t h e s o u r c e . A m o n g t h e e a r l i e s t v e r s i o n s from Aquileia (Udine, can only be explained eleventh century), w h i c h corresponds very closely w i t h later ones f r o m A u g s b u r g . A u g s b u r g i n the first p l a c e , d u r i n g t h e p e r i o d w h e n t h e i n f l u e n c e of t h e German paschali Te duo simul (Die Deum Magdalena. nobis conclude the t h e last r e s p o n s o r y of the N i g h t O f f i c e , a p r o c e s s i o n is to b e T h e seven as a it is ceremony. is r e p e a t e d

is i n i n d i r e c t s p e e c h ,

262 E x . I I . 2 5 . 5 . Visitatio
Mulieres

//. Chant sepulchri (Antiphonale

Genres f o . 55 )
r

Pataviense,

^
Quis revolver Angelus

.
no-bisab o s - t i - o

l a - p i - d e m quern tegere sanctum cernimus sepulchrum.

Quern queri-tis Mulieres

O tremu-le

mu-li-e-res:

in hoc t u - m u - l o gementes.

*'

*Q
que - ri - mus.

le - sus Angelus

Na - za - re - num cru-ci - f i - xum

Non est hie quern queri-tis

sed ci - to

e - un-tes nun-ci - a - te

dis-ci - pu - lis e - ius

et

Petro: q u i - a

sur-re-xit

Ie-sus.

Mulieres
~9
99

Ad mo-nu-mentum ve - ni - mus gementes:

* a n - g e - l u m do-mini
9

-^7-9

se-dentem vi-di-mus

#j et di - centem: qui-a sur-re-xit Ie-sus. Petrus et Ioannes _ _ Cur-rebant du-o

m

si-mul:

. et il-le

. a-li-us

dis-ci

- pu - lus pre-cu-currit c i - t i - us

^ > Pe-tro et

ve-nit pri-or

&

ad mo-numentum

al-le-lu-ia.

Petrus et Ioannes cum sudario

9

%9

**

Cer-ni-tis

so-ci-i:

ec-ce

lin-the-a - mi-na

et

su - da-

-ri-um:

^
in

4>

et Chorus

cor-pus non est

se-pulchro in - ventum.

Die no-bis M a - r i - a

quid vi-dis-ti

in vi - a.

25.
Maria

Liturgical

Dramas
Chorus

263

'

'

i*

^
et glo-ri - a vi - di re - sur-gentis.

Sepulchrum Christi v i - v e n t i s : Maria

Die no-bis... Chorus

* +

A n - g e - l i - c o s testes: Maria

su - da-ri-um et vestes.

Die no-bis.

' /

'

'

pre-ce-det su-os

'

'

Surrexit Christus spes mea:

in G a - l i - l e - a m . Deinde populus

Chorus

Credendum est...

Scimus Christum...

Christ ist erstanden...

Postea Te Deum laudamus.

e m p i r e u p o n t h e I t a l i a n c h u r c h w a s s t r o n g , p r o b a b l y i n t h i s case w h e n t h e A u g s b u r g c a n o n H e i n r i c h w a s p a t r i a r c h of A q u i l e i a ( 1 0 7 7 - 8 4 ) . Its l a t e r r a p i d d i f f u s i o n c a n t h e n be f o l l o w e d t h r o u g h the various ecclesiastical c h u r c h of t h e t w e l f t h c e n t u r y . reform movements i n the German

( i v ) Christmas

and

Epiphany

Ceremonies;

Rachel's

and

Mary's

Laments

T h e a d a p t a t i o n of the Quern queritis

d i a l o g u e f o r C h r i s t m a s is f o u n d i n r e l a t i v e l y f e w

s o u r c e s , u s u a l l y w i t h e x t r a verses a n d s o m e i n d i c a t i o n of h o w the c e r e m o n y w a s to b e p e r f o r m e d . I n m a n u s c r i p t s of t h e t h i r t e e n t h a n d f o u r t e e n t h c e n t u r i e s f r o m R o u e n a m u c h fuller enactment o f the C h r i s t m a s s t o r y is to be f o u n d , l u c k i l y also p r e s e r v e d Rouen gradual Paris, Bibliotheque Nationale, w i t h m u s i c i n the t h i r t e e n t h - c e n t u r y

l a t . 9 0 4 . ( C h r i s t m a s t e x t s are e d i t e d b y Y o u n g , i i , c h . X V I I ; the m u s i c of t h e R o u e n c e r e m o n y a n d the c l o s e l y r e l a t e d o n e i n t h e s o - c a l l e d F l e u r y P l a y b o o k are e d i t e d b y Coussemaker 1861.) A l t h o u g h s o m e texts of the R o u e n C h r i s t m a s c e r e m o n y c o i n c i d e w i t h l i t u r g i c a l i t e m s , c h a n t s d o n o t a p p e a r to h a v e b e e n q u o t e d . G i v e n t h e date of t h e m a n u s c r i p t , it is n o t s u r p r i s i n g to find s o m e r h y m e d i t e m s , a n d t h e r e are s i g n s t h a t t h e s e are l a t e r a d d i t i o n s t o a n o l d e r v e r s i o n of t h e c e r e m o n y . A n a n g e l a n n o u n c e s C h r i s t ' s b i r t h t o t h e s h e p h e r d s , a n d a c h o i r of s e v e n b o y s ' s t a n d i n g i n a h i g h p l a c e ' s i n g s ' G l o r i a i n e x c e l s i s d e o ' ( b u t n o t to its u s u a l l i t u r g i c a l a n t i p h o n m e l o d y ) . T h e s h e p h e r d s s i n g t h e versus Pax in terris nunciatur then ( f a c s i m i l e Y o u n g , i i , o p p o s i t e p . 16), a r h y m e d usque Bethleem,

s o n g w i t h t w o s t r o p h e s a n d the r e f r a i n ' E y a ! E y a ! T r a n s e a m u s , u i d e a m u s . . .'. T h i s is i m m e d i a t e l y f o l l o w e d b y a c h a n t w i t h t h e b i b l i c a l text Transeamus et videamus introduced. . . . , i n m o r e t r a d i t i o n a l c h a n t s t y l e . T h e t e x t is s u p e r f l u o u s a f t e r t h e

s o n g j u s t s u n g ; p e r h a p s it w a s p u s h e d i n t o s e c o n d p l a c e w h e n t h e n e w s o n g w a s

W h e n t h e s h e p h e r d s r e a c h t h e m a n g e r t w o m i d w i v e s ask t h e m ' Q u e r n q u e r i t i s i n p r e s e p e p a s t o r e s d i c i t e ? ' , a n d w h e n t h e y h a v e b e e n s h o w n the m o t h e r a n d c h i l d t h e y s i n g a f u r t h e r s h o r t s o n g , t h e t w o - s t r o p h e Salve B b , p e r h a p s a n o t h e r s i g n of late i n s e r t i o n . M o s t i n t e r e s t i n g are t h e d i r e c t i o n s at t h e e n d of the c e r e m o n y a n d d u r i n g shepherds pastores l e a d t h e c h o i r , s i n g i n g s o l o verses where p r o p e r . A t the verse hodie. vidimus. end the s u b s e q u e n t m a s s ( w h i c h b e g i n s w i t h a D - m o d e i n t r o i t ) , w h i c h m a k e it c l e a r t h a t the another vidistis dialogue-chant is p e r f o r m e d : t h e p r i e s t o r b i s h o p s i n g s t h e patris Ouem virgo singularis. Curiously, although t h e w h o l e of t h e rest of t h e c e r e m o n y is i n G - m o d e , t h i s l i t t l e p i e c e is c o p i e d i n F , w i t h

t o t h e - s h e p h e r d s a n d t h e y a n s w e r w i t h t h e verse Natum

A t the end

of L a u d s t h e y also s i n g t h e B e n e d i c a m u s s o n g Verbum

T h e c e r e m o n i a l n a t u r e of t h e s h e p h e r d s ' p l a y , w i t h its r e m i n i s c e n c e s o f a l i t u r g i c a l p r o c e s s i o n a n d c l o s e i n t e g r a t i o n w i t h t h e s u b s e q u e n t m a s s , is also c h a r a c t e r i s t i c of the officium stellae ( ' c e r e m o n y of t h e star') i n its R o u e n v e r s i o n . It r e - e n a c t s t h e c o m i n g of t h e M a g i to H e r o d a n d t o B e t h l e h e m , f o l l o w i n g t h e s t a r . B u t t h i s c e r e m o n y a p p e a r s to h a v e h a d q u i t e d i f f e r e n t o r i g i n s . M o s t of t h e e a r l y s o u r c e s ( w h i c h d a t e f r o m t h e first h a U o f t h e e l e v e n t h c e n t u r y ) are n o t l i t u r g i c a l b o o k s , a n d t h e c e r e m o n y r e l a t i v e l y l i t t l e of t h e might be called biblical and liturgical material w h i c h for they often one finds against c e r e m o n i e s , a i m i n g r a t h e r to p r o v i d e ' l e a r n e d ' n e w m a t e r i a l i n h e x a m e t e r s 'pseudo-hexameters', different offend convention). T h e o r i g i n a l basis i m p r e s s i o n is of a c e r e m o n y contains in Easter (or what classical and the no

conceived on an independent D e u m , some have

which

i n s t i t u t i o n s i n s e r t e d m o r e o r less l o o s e l y i n t o copies e n d w i t h the cue T e

E p i p h a n y liturgy. T h u s some l i t u r g i c a l c u e at a l l .

T h e v a r i o u s v e r s i o n s of t h e c e r e m o n y ( t h e r e are o v e r t w e n t y ) h a v e b e e n c o m p a r e d by L i p p h a r d t (1963) a n d D r u m b l ( 1 9 8 1 , 2 9 3 - 3 4 0 ) . M o s t are e i t h e r n o t a t e d with a d i a s t e m a t i c n e u m e s o r l a c k n o t a t i o n , b u t five c o p i e s w i t h staff n o t a t i o n s u r v i v e ( f o r e d i t i o n s see C o u s s e m a k e r 1 8 6 1 ; L i p p h a r d t 1 9 6 3 ; v e r s i o n s are c l o s e l y r e l a t e d i n c o n t e n t , B e r n a r d 1965, ' O f f i c i u m ' ) . A l l the t h o u g h o f t e n t h e y not o n l y d i f f e r i n s m a l l

d e t a i l s of t e x t a n d m u s i c b u t m a y also o m i t s c e n e s f r o m w h a t a p p e a r s to h a v e b e e n a n o r i g i n a l c o n c e i v e d o n a g r a n d scale. T h u s the early source f r o m C o m p i e g n e (Paris, B i b l i o t h e q u e N a t i o n a l e , l a t . 16819) has p a r t s n o t o n l y f o r t h e t h r e e k i n g s a n d H e r o d , b u t legates, a messenger a n d servant, scribes, and a knight, all i n attendance on H e r o d , as w e l l as t h e w o m e n at t h e m a n g e r a n d a n a n g e l . T h e a c t i o n comprises

n u m e r o u s scenes: the M a g i alone, their s u m m o n s by messengers f r o m H e r o d , their i n t e r v i e w w i t h H e r o d ( w h i c h i n c l u d e s p r o p h e c y of C h r i s t ' s k i n g s h i p b y t h e s c r i b e s ) , t h e i r a r r i v a l at t h e s t a b l e , t h e a n g e l ' s w a r n i n g , H e r o d ' s c o m m a n d to k i l l the c h i l d r e n , a n d a final a n t i p h o n s u n g b y t h e a n g e l , Sinite come unto me . . .'). T h e R o u e n r e d a c t o r , o n t h e o t h e r h a n d , e v i d e n t l y w i s h e d to i n t e g r a t e t h e c e r e m o n y as f u l l y as p o s s i b l e i n t o t h e l i t u r g y . T h e p r o c e s s i o n a l e l e m e n t w h i c h is p r e s e n t to s o m e e x t e n t i n a l l v e r s i o n s ( t h e t h r e e k i n g s v i s i t i n g v a r i o u s ' s t a t i o n s ' ) is h e r e strengthened b y t h e i n c l u s i o n of p r o c e s s i o n a l a n t i p h o n s d r a w n f r o m the l i t u r g y . T h e o c c a s i o n is t h e parvulos ( ' S u f f e r t h e l i t t l e c h i l d r e n to

u s u a l t i m e f o r a p r o c e s s i o n b e t w e e n T e r c e a n d M a s s , o n t h e feast of t h e E p i p h a n y . T h e first k i n g a p p e a r s b e h i n d the h i g h a l t a r , the o t h e r s o n e i t h e r s i d e . A f t e r t h e chants, a procession veniunt is f o r m e d 'as o n V . Cum Sundays', in other cantor words with begins the the complement a n t i p h o n Magi of c h o i r , assistants, a n d so o n . T h e first usual

processional Blessed boy, This

natus esset. T h e p r o c e s s i o n m a k e s its w a y o u t i n t o t h e

n a v e t o t h e a l t a r of the H o l y C r o s s , w h e r e a c u r t a i n c o n c e a l s a n i m a g e of t h e

V i r g i n . A c r o w n is s u s p e n d e d b e f o r e the a l t a r ' i n m o d o s t e l l e ' . W h e n t h e m i d w i v e s h a v e d r a w n b a c k t h e c u r t a i n the k i n g s p r a y a n d f e i g n s l e e p , w h e r e u p o n t h e representing the angel, s i n g s the w a r n i n g to t h e m to r e t u r n a n o t h e r way.

i n s t r u c t i o n is i n d e e d c a r r i e d o u t l i t e r a l l y , f o r t h e p r o c e s s i o n n o w r e t u r n s to t h e c h o i r v i a t h e f o n t a n d t h e left e n t r a n c e i n t o t h e c h o i r , a g a i n a c c o r d i n g to u s u a l c u s t o m of t h e c a t h e d r a l . D u r i n g i t , a n o t h e r p r o c e s s i o n a l a n t i p h o n is s u n g , Tria Salutis nostre auctorem, o n c e a g a i n i n t o n e d b y the c a n t o r . k i n g s l e a d i n g the c h o i r a n d s i n g i n g solo verses w h e r e r e q u i r e d . A n o t h e r M a g i c e r e m o n y , f r o m L i m o g e s ( Y o u n g , i i . 3 4 ) , is p l a c e d a f t e r t h e o f f e r t o r y o f m a s s , an o b v i o u s l y s y m b o l i c arrangement. t r a d i t i o n a l l y c o m m e m o r a t e d o n 28 D e c e m b e r , many items apparently pruned for the is T h e S l a u g h t e r of the I n n o c e n t s , complete notation) scene, but is o n e of sunt munera V. the Mass follows, with

r e f e r r e d to i n t h e C o m p i e g n e E p i p h a n y c e r e m o n y a n d o t h e r s , a n d at L a o n f o r m s a special r e q u i r e m e n t s of t h e R o u e n c e r e m o n y . A t L a o n ( u n f o r t u n a t e l y t h e m a n u s c r i p t has n o a m o v i n g l a m e n t f o r R a c h e l , s y m b o l i z i n g t h e m o t h e r of t h e c h i l d r e n , is altare dei, a n d t h e r e are t w o f u l l i n c l u d e d , i n d i a l o g u e w i t h a ' C o n s o l a t r i x ' . I n o t h e r s o u r c e s a n o t h e r l a m e n t of R a c h e l h a s s u r v i v e d as a n a d j u n c t to t h e r e s p o n s o r y Sub P a r i s , B i b l i o t h e q u e N a t i o n a l e , l a t . 1139) some r h y m e d sequences and songs ( E x . differentiation between b l o w n I n n o c e n t s ' p l a y s as w e l l , b o t h e n t i t l e d ' O r d o R a c h e l i s ' . T h e s i m p l e r l a m e n t ( i n is m u s i c a l l y u n a d v e n t u r o u s ; t h e p a r t of t h e 11.25.6). this cannot be of a n g e l is i n t h e m e t r e w h i c h b e c a m e p o p u l a r i n r h y m e d o f f i c e s a n d w a s also u s e d f o r A l t h o u g h B e r n a r d ( 1 9 6 5 , ' O f f i c i u m ' ) has a r g u e d f o r a c e r t a i n a m o u n t o f m u s i c a l the c h a r a c t e r s i n the E p i p h a n y c e r e m o n y , r e g a r d e d as a c o m m o n feature of l i t u r g i c a l d r a m a s . T h e m e l i s m a t i c e x c l a m a t i o n s the w e e p i n g R a c h e l f o u n d in the F l e u r y P l a y b o o k v e r s i o n are, D r a m a ' , A G , 3 4 ; C o u s s e m a k e r 1861,
r

however,

obvious

a t t e m p t s to i m p r e s s t h e t r a g e d y o n the a t t e n t i o n of t h e l i s t e n e r ( S t e v e n s , ' M e d i e v a l 1 7 0 ) . T h i s l a m e n t d r a w s u p o n o n e of N o t k e r ' s s e q u e n c e t e x t s , Quid tu virgo mater, a n d , t h o u g h to a l e s s e r e x t e n t , its m e l o d y as w e l l .

A m u c h b i g g e r r e p e r t o r y of l a m e n t s exists l a r g e l y o u t s i d e t h e l i t u r g y a n d is g e n e r a l l y s u b s u m e d u n d e r t h e L a t i n t e r m p l a n c t u s . A s w e l l as m a n y s e c u l a r p l a n c t u s , L a t i n a n d v e r n a c u l a r (see t h e c a t a l o g u e b y Y e a r l e y 1981 a n d e d i t i o n s i n Y^earley 1 9 8 3 ) , t h e r e are a c o n s i d e r a b l e n u m b e r of l a m e n t s of the V i r g i n M a r y at t h e f o o t of t h e c r o s s ( G e r m a n ' M a r i e n k l a g e n ' ) . A l t h o u g h the c i r c u m s t a n c e s beneath of t h e i r p e r f o r m a n c e are n o t always c l e a r , it s e e m s t h a t s u c h l a m e n t s w e r e o f t e n s u n g , at least i n G e r m a n y a n d n o r t h I t a l y , the c r u c i f i x o n G o o d F r i d a y . A n a p p r o p r i a t e l i t u r g i c a l p l a c e w a s a f t e r t h e r e p r o a c h e s d u r i n g the A d o r a t i o n of the C r o s s . T w o e a r l y c o m p o s i t i o n s of t h i s s o r t ,

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Lamentatio Rachelis

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ante nescia

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( t e x t s Y o u n g , i . 4 9 6 f f . ; m u s i c D o b s o n a n d H a r r i s o n 1979, 8 4 , 2 3 8 ; G e n n r i c h 5 6 ) . B o t h are w r i t t e n i n s e q u e n c e f o r m lai t h a n t h e l i t u r g i c a l s e q u e n c e . The b u t t h e l e n g t h of t h e s t r o p h e s a n d t h e i r v a r i e d l e n g t h a n d

with paired strophes, rhythm songs.

reminiscent

M a r i e n k l a g e m i g h t b e so e x t e n s i v e as to i n c o r p o r a t e l i t u r g i c a l c h a n t s o r v e r n a c u l a r C h r i s t ' s p a s s i o n w a s i t s e l f m a d e t h e s u b j e c t of d r a m a t i c r e p r e s e n t a t i o n s , Cividale Flete Passion Play (Cividale, M u s e o Archeologico Nazionale C I , (the passages are identified by Y o u n g i . 512 a n. a n d it is the fifteenth2). The

n o t s u r p r i s i n g to find l a m e n t s b e i n g w o r k e d i n t o t h e l o n g e r t e x t s . F o r e x a m p l e ,

c e n t u r y p r o c e s s i o n a l , m u s i c edited C o u s s e m a k e r 1861, 2 8 5 - 9 7 ) b o r r o w s h e a v i l y f r o m fideles animae m a n u s c r i p t is r e m a r k a b l e f o r its c o p i o u s a c t i n g i n s t r u c t i o n s , w h e r e a l m o s t e v e r y l i n e is a c c o m p a n i e d by a significant gesture.

(v) Rhymed

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the L u d u s D a n i e l i s presentations and

R h y m e d s o n g s h a v e a l r e a d y b e e n r e f e r r e d to s e v e r a l t i m e s . I n d r a m a t i c t w e l f t h c e n t u r y , P a r i s , B i b l i o t h e q u e N a t i o n a l e , l a t . 1139.

t h e y first a p p e a r i n c o n s i d e r a b l e n u m b e r s i n an A q u i t a n i a n m a n u s c r i p t of t h e e a r l y B e n e d i c a m u s songs

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Innocents, d i a l o g u e is The unique is m o s t

s e e m s to h a v e a l i t u r g i c a l p l a c e , a n d w e m a y a s s u m e t h a t t h e Quern queritis s u n g o n one of the usual occasions. Sponsus

p l a y , w h e r e t h e s t o r y o f the W i s e a n d F o o l i s h V i r g i n s is e n a c t e d ,

r e m a r k a b l e . I t s s t r o p h e s are a l l o f i d e n t i c a l c o n s t r u c t i o n a n d are s u n g to o n e o f f o u r m e l o d i e s ( w h i c h d o not, h o w e v e r , attach to specific c h a r a c t e r s ) . T h i s , the presence of t h e v e r n a c u l a r , a n d t h e u n u s u a l s u b j e c t m a t t e r , raise t h e p o s s i b i l i t y of n o n - l i t u r g i c a l o r i g i n . P e r h a p s it s t a n d s near t h e b e g i n n i n g of the t r a d i t i o n of t h e v e r n a c u l a r m i r a c l e play, p l a y e d outside c h u r c h . T h e m u s i c cannot, h o w e v e r , be d i s t i n g u i s h e d f r o m the r e p e r t o r y of L a t i n l i t u r g i c a l songs, witnesses. Whatever the relationship of Sponsus to the liturgy, rhymed verse and the v e r n a c u l a r can be f o u n d i n several i n d u b i t a b l y l i t u r g i c a l c e r e m o n i e s . F o r e x a m p l e , the Easter ceremony Sainte-Benoite 79). in a fourteenth-century m a n u s c r i p t f r o m t h e c o n v e n t of O r i g n y 1861, 256music play, Tours, ( S a i n t - Q u e n t i n , B i b l i o t h e q u e M u n i c i p a l e 8 6 ) , is c o m p o s e d p r e d o m i n of w h i c h t h i s m a n u s c r i p t is o n e of t h e chief

a n t l y of r e g u l a r r h y m e d s t r o p h e s , F r e n c h as w e l l as L a t i n ( C o u s s e m a k e r spices f r o m merchants,

F o r t h e t w o e p i s o d e s w h e r e F r e n c h is u s e d (the e p i s o d e s of t h e M a r y s b u y i n g and M a r y M a g d a l e n e ' s dialogue w i t h an angel) the strophes. The S u c h r e p e t i t i o n , as i n t h e Sponsus Easter play in the manuscript

settles i n t o c o n s t a n t l y r e p e a t e d not invariably the case,

s e e m s t h e r e f o r e to be a s s o c i a t e d w i t h the v e r n a c u l a r a n d n o n - b i b l i c a l m a t e r i a l . T h a t is however. B i b l i o t h e q u e M u n i c i p a l e 927 ( f r o m n o r t h F r a n c e o r E n g l a n d , t h i r t e e n t h c e n t u r y ) is c o m p o s e d a l m o s t e n t i r e l y i n L a t i n verse (see C o u s s e m a k e r 1 8 6 1 , 2 1 - 4 8 ; K r i e g 1 9 5 6 ) . B u t t h r o u g h c o m p o s i t i o n of t h e m u s i c is r a t h e r t h e r u l e t h a n t h e e x c e p t i o n . T h e metre of t h e t e x t is i r r e g u l a r , o r w h e n r e g u l a r d o e s n o t r e m a i n c o n s t a n t f o r l o n g ; t h e l i n e e n d s are o f t e n a s s o n a n t r a t h e r t h a n r h y m i n g , w h i c h s u g g e s t s a d a t e of c o m p o s i t i o n earlier rather t h a n later i n t h e twelfth century. Ex. 11.25.7, the passage where d i s c o n s o l a t e s o l d i e r s a d m i t to P i l a t e that C h r i s t is r i s e n f r o m t h e t o m b , s h o w s h o w d i f f e r e n t t h e m u s i c is f r o m the p l a y s i n u n c h a n g i n g s t r o p h e s . T h e m u s i c s h a p e s t h e s c e n e i n t h a t t w o of P i l a t e ' s u t t e r a n c e s , ' V o s R o m a n i ' a n d ' L e g e m n o n h a b u i s t i s ' , h a v e the s a m e m e l o d y ; a n d the s o l d i e r s ' ' P r o q u o g e n t i l e s ' a n d ' N o s v e r i t a t e m ' a l s o f o r m a p a i r . P i l a t e ' s final s t r o p h e s are i n i a m b i c t r i m e t e r . O n e source particularly r i c h i n versified L a t i n dramas, the f a m o u s C a r m i n a B u r a n a m a n u s c r i p t ( M u n i c h , Bayerische S t a a t s b i b l i o t h e k , e l m 4 6 6 0 a ) , has o n l y adiastematic n o t a t i o n (see t h e t e x t s e d i t e d i n Y o u n g , i . 4 3 2 , 4 6 3 , 5 1 4 , 5 1 8 , i i . 172, 4 6 3 ; S t e e r 1983

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argues f o r p r o v e n a n c e i n S o u t h T i r o l ; facs. B i s c h o f f , 1967). E v e n r i c h e r , h o w e v e r , is the equally famous F l e u r y P l a y b o o k (Orleans, monastery of S a i n t - B e n o i t - s u r - L o i r e , Bibliotheque Municipale 201).T h e Benedictine that it m a n u s c r i p t w a s kept f o r m a n y years i n t h e l i b r a r y of t h e celebrated

at F l e u r y , b u t t h e r e i s n o e v i d e n c e

o r i g i n a t e d there. T h e chief m u s i c scribe used a n i n f o r m a l type of notation (similar to that, f o r e x a m p l e , i n t h e C a m b r i d g e s o n g - b o o k C a m b r i d g e , U n i v e r s i t y L i b r a r y F f . 1. 17 o r T o u r s 9 2 7 ) w h i c h is p r a c t i c a l l y i m p o s s i b l e t o l o c a l i z e , b u t w h i c h w a s d o u b t l e s s u s e d b y m a n y p r a c t i s i n g m u s i c i a n s of t h e t i m e . (See t h e d i s c u s s i o n s b y C o r b i n 1953 a n d H u g l o 1985 ' A n a l y s e ' ; e d i t i o n s of all t e n plays b y C o u s s e m a k e r 1861). play, S o m e of the contents seem n o n - l i t u r g i c a l : four plays about miracles of St N i c h o l a s , w h i c h m a k e w i d e u s e o f r e p e a t i n g m u s i c a l s t r o p h e s . A t least f o r t h e Tres clerici suggest secular a connection vernacular w h e r e t h e s a m e m e l o d y is u s e d t h r o u g h o u t t h e entire c o m p o s i t i o n , o n e is t e m p t e d to w i t h the m e t h o d usually postulated for the performance of a n d romances (see S t e v e n s 1986, 2 2 2 f f . ) . T h e same epics

t e c h n i q u e i s u s e d f o r a p l a y a b o u t a n o t h e r m i r a c l e , t h e r e s u r r e c t i o n of L a z a r u s . B y contrast, t h e C o n v e r s i o n of S t P a u l , t h o u g h w r i t t e n t h r o u g h o u t i n lines of 4 + 3 + 3 s y l l a b l e s , is b a s i c a l l y t h r o u g h - c o m p o s e d , w i t h o n l y i n f r e q u e n t The repetitions. is a n remaining plays m i x traditional a n d apparently n e w material. There

E p i p h a n y p l a y , w h i c h begins w i t h the episode of the shepherds c o m i n g to the stable, an I n n o c e n t s p l a y , a n E a s t e r p l a y , a n d a P e r e g r i n u s p l a y . T h e s e a r e a m o n g t h e m o s t extensive ceremonies f o r their respective occasions. P e r e g r i n u s w i t h Salve festa dies. Three e n d with the T e D e u m , R h y m e , w h e r e p r e s e n t , is n o t i n v a r i a b l y a s s o c i a t e d

w i t h r e g u l a r r h y t h m . O n e of t h e f e w r e g u l a r pieces is a s m a l l p r o c e s s i o n a l s o n g i n P e r e g r i n u s , i n s e q u e n c e f o r m w i t h l i n e s o f 7 + 5 s y l l a b l e s , t o b e s u n g b e t w e e n t h e first appearance of t h e r i s e n Jesus to h i s d i s c i p l e s a n d t h e scene w i t h d o u b t i n g T h o m a s ( E x . 11.25.8). ( T h e processional f u n c t i o n of the s o n g is even m o r e clear i n the Easter ceremony from Coutances: Y o u n g i . 408.) Examples like this a n d the song which the shepherds sing at R o u e n while p r o c e s s i n g to t h e s t a b l e fit w e l l w i t h o u r p i c t u r e o f t h e L a t i n l i t u r g i c a l s o n g s o f t h i s p e r i o d k n o w n as c o n d u c t u s (see a b o v e , 1 1 . 2 4 ) . T h e y a r e r e l a t i v e l y rare i n l i t u r g i c a l d r a m a s , h o w e v e r , a n d o n l y o n e p l a y m a k e s s y s t e m a t i c u s e o f t h e m . T h i s is t h e f a m o u s

E x . 11.25.8. Song Adam norus veterem f r o m F l c u r y Peregrinus play ( O r l e a n s , B i b l . M u n . 201, p . 228)

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( L o n d o n , B r i t i s h L i b r a r y , E g e r t o n 2615), alongside a practically c o m p l e t e office for t h e C i r c u m c i s i o n o r ' F e a s t of F o o l s ' o n N e w Y e a r ' s D a y (see 1 . 9 ) . I n t h e first h a l f of t h e p i e c e n e a r l y e v e r y e n t r a n c e o r exit of c h a r a c t e r s e l s e w h e r e : t h u s Iubilemus regi nostra, is a c c o m p a n i e d b y v i g o r o u s l y r h y t h m i c c o n d u c t u s (so c a l l e d i n t h e s o u r c e ) . T h e m e l o d i e s of s o m e c a n b e f o u n d s u n g as t h e s a c r e d vessels f r o m t h e t e m p l e are cordis voce i n t h e L a o n E p i p h a n y verus celorum Hie s o n g Postquam b r o u g h t i n t o B e l s h a z z a r , t u r n s u p as Iubilemus Dei famulus, dominus verus has t h e s a m e

o f f i c e ; a n d t h e s o n g w h i c h t h e n o b l e s s i n g as t h e y escort D a n i e l to t h e k i n g , Hie m e l o d y as t h e B e n e d i c a m u s i n P a r i s 1139, a k e y r e p o s i t o r y of b o t h f e s t a l s o n g s a n d l i t u r g i c a l d r a m a s .

Dei famulus

is n o t a b l e n o t o n l y f o r its m a c a r o n i c text b u t also m u s i c a l l y f o r its

25. E x . I I . 2 5 . 9 . F r o m the Ludus Danielis

(Principes)

Liturgical

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r

271

( L o n d o n , B r i t . L i b . E g e r t o n 2615, fo. 99 )

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t e r t i a n f r a m e w o r k a n d t h e d e l a y i n g of the t o n i c c u n t i l t h e v e r y e n d of t h e (Ex. Of melius, resemble 11.25.9). the other elements mentioned up until now, hec there patimur flung

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is l i t t l e q u o t a t i o n a n d Emendemus t h e r e is n o t h i n g

t r a d i t i o n a l c h a n t ( t w o L e n t e n r e s p o n s o r i e s , Merito a l t h o u g h t h e r e are s t r o p h i c s o n g s the r e p e t i t i o n technique

w h e n D a r i u s ' e n v i o u s c o u n s e l l o r s are a b o u t to be of Sponsus

to t h e l i o n s ) , a n d , Fleury

other than the c o n d u c t u s ,

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P l a y b o o k . T h e text is m o s t l y r h y m e d w i t h r e g u l a r r h y t h m , set i n m u s i c of a d m i r a b l e d i r e c t n e s s . W h e r e a s m u c h of the T o u r s a n d F l e u r y m u s i c m o v e s at t h e l e i s u r e l y p a c e of t r a d i t i o n a l c h a n t , D a n i e l o f t e n s l i p s i n t o s y l l a b i c , p a t t e r n e d p h r a s e s . C o n s i d e r , f o r e x a m p l e , t h e s o n g o f the e n v i o u s c o u n s e l l o r s as t h e y i n f o r m D a r i u s t h a t D a n i e l is w o r s h i p p i n g h i s o w n g o d ( E x . 1 1 . 2 5 . 1 0 ) . I n t h e first l i n e t h e r e are t h r e e d e s c e n d i n g melodic thirds (bracketed); and F o c c u r s three times o n stressed s y l l a b l e s ; the same h a p p e n s i n the t h i r d l i n e , w i t h three G s . I n D a r i u s ' reply the t h i r d s r e c u r . T h i s c l e a r l y r h y t h m i c , p a t t e r n e d m u s i c is c o m p l e m e n t e d b y a f e w i t e m s i n a less insistent style. W h e n the counsellors h a v e h a d t h e i r w a y , a n d D a n i e l has been c o n d e m n e d to the l i o n s ' d e n , he l a m e n t s as s h o w n i n E x . 1 1 . 2 5 . 1 1 . T h e l i n e s r h y m e b u t t h e i r m e t r e is o b s c u r e d b y the ' H e u ' e x c l a m a t i o n s a n d b y d e v i a t i o n s f r o m s y l l a b i c s e t t i n g . I g n o r i n g t h e e x c l a m a t i o n s , w e h a v e l i n e s of verses of 5 + 9, 5 + 9, 7 + 8, a n d a g a i n 5 + 8 s y l l a b l e s . T h e s u d d e n c h a n g e i n t o t h e v e r y h i g h e s t r e g i s t e r is r h e t o r i c a l l y i n s p i r e d . S o are t h e s w o o p s d o w n t h r o u g h the c o m p l e t e o c t a v e cc to c i n l i n e s 1 a n d 7-8 ( r u n n i n g o v e r t h e l i n e - e n d ) , a n d p e r h a p s t h e d e s c e n t to a a n d bb f o r ' d a m n a t i o ' . thirteenth-century T h e c o m p a r t m e n t a l i z a t i o n of p h r a s e s i n t o e i t h e r the l o w e r o r t h e u p p e r p a r t of t h e o c t a v e ( o n l y c a n d g c a d e n c e s are u s e d ) is t y p i c a l of t w e l f t h - a n d pieces.

272 E x . 11.25.10. F r o m the Ludus (Consiliarii)

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26. T h e Lucius Danielis

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273

is a u n i q u e a n d , to m o d e r n s e n s i b i l i t i e s , p a r t i c u l a r l y h a p p y

m i x o f s t y l e s . N o o t h e r w o r k of t h e p e r i o d m o v e s w i t h s u c h d i r e c t n e s s a n d e n e r g y . E v e n i n its t i m e it m u s t h a v e s e e m e d e x t r a v a g a n t , not least m u s i c a l l y . L i t t l e of t h e l i t u r g i c a l s p i r i t i n f o r m s i t , a l t h o u g h it e n d s w i t h T e D e u m . It s t a n d s at t h e o p p o s i t e e n d of t h e s c a l e f r o m t h e P e r e g r i n u s c e r e m o n i e s , w i t h t h e i r c o p i o u s use of b i b l i c a l a n d l i t u r g i c a l m a t e r i a l . It s e e m s to h a v e h a d n o s u c c e s s o r s , a n d i n d e e d , t h e c o m p o s i t i o n of n e w d r a m a t i c l i t u r g i c a l c e r e m o n i e s of a n y k i n d f e l l o f f r a p i d l y after t h e century. thirteenth

11.26.

O F F I C E S W I T H

V E R S E

T E X T S

J a m m e r s 1 9 2 9 - 3 0 ; Irtenkauf, ' R e i m o f n z i u m ' , MGG; Szoverffy 1964-5 (s.v. ' R e i m o f f i z i e n ' ) ; A n d r e w H u g h e s , ' R h y m e d Office', A G , and 1985. Editions of texts: A l l 5, 13,' 1 7 - 1 8 , 2 4 - 6 , 28, 45 Editions of music. F e l d c r 1901; A u d a 1923; Bayart 1926; J a m m e r s 1934; Ottosson 1959; F a l v y * 1 9 6 8 ; H o p p i n 1968; B e r n a r d 1977 a n d ' l 9 8 0 ; E p s t e i n 1978; Deleglise 1983; Patier 1986; E d w a r d s 1990. T h e s u b j e c t of t h e f o l l o w i n g r e m a r k s is t h e offices f o r s a i n t s w i t h a n t i p h o n s a n d responsories w r i t t e n i n verse f o r m . T h e t o p i c is s o m e w h a t d i f f i c u l t t o d e f i n e a n d n a m e . W e are n o t d e a l i n g w i t h a n e w l i t u r g i c a l g e n r e , f o r t h e c o m p o s i t i o n s i n q u e s t i o n f o r m a n o r m a l p a r t of t h e o f f i c e ; o n l y t h e i r p o e t i c t e c h n i q u e d i s t i n g u i s h e s t h e m f r o m o t h e r a n t i p h o n s a n d r e s p o n s o r i e s . N o r are w e d e a l i n g w i t h a n e w t y p e of m u s i c . W h i l e it is t r u e t h a t t h e c h a n t s of v e r s i f i e d o f f i c e s are u s u a l l y a r r a n g e d i n m o d a l o r d e r , o f f i c e s w i t h p r o s e t e x t s c a n also be f o u n d w h o s e c h a n t s are i n m o d a l o r d e r . O t h e r m u s i c a l f e a t u r e s of l a t e r m e d i e v a l v e r s i f i e d o f f i c e s , d i s c u s s e d b r i e f l y b e l o w , are n o t e x c l u s i v e to t h e m , b u t c a n be f o u n d i n o t h e r c h a n t s of t h e s a m e p e r i o d . N o r d o e s t h e u s u a l t e r m ' r h y m e d o f f i c e ' s e e m a d e q u a t e to c o n t a i n t h e w h o l e a r e a , f o r r h y m e is o n l y o n e a s p e c t of p o e t i c t e c h n i q u e w h i c h c a n be f o u n d i n t h e o f f i c e s . It is c e r t a i n l y t r u e t h a t t h e vast m a j o r i t y of v e r s i f i e d o f f i c e s w e r e w r i t t e n f r o m t h e t w e l f t h c e n t u r y o n w a r d i n a c c e n t u a l r h y m i n g v e r s e , b u t m a n y e a r l i e r o f f i c e s u s e d r h y m e m o r e f r e e l y o r n o t at a l l o n e finds assonance, rather s i n g l e r a t h e r t h a n d o u b l e r h y m e , o r r h y m e d p r o s e ; s o m e t e x t s are than accentual. Thus the increasing and finally e x c l u s i v e use of n o t of a n e w l i t u r g i c a l o r metrical

a c c e n t u a l r h y m i n g texts is a m a t t e r of s t y l i s t i c c h a n g e , ( w h i c h was a new genre), alleluias, sequences, T h e t e r m histona The reasons

m u s i c a l f o r m . It r u n s p a r a l l e l to t h e use of a c c e n t u a l r h y m i n g v e r s e i n c o n d u c t u s and liturgical dramas. is u s e d f o r t h e r h y m e d as f o r t h e n o n - r h y m e d o f f i c e . throughout

T h e s i z e of t h e r e p e r t o r y is v e r y l a r g e , b u t r a t h e r f e w o f f i c e s w e r e w i d e l y k n o w n . are o b v i o u s . T h e m o s t i m p o r t a n t s a i n t s , c o m m e m o r a t e d E u r o p e , a l r e a d y h a d offices w i t h o l d p r o s e t e x t s . S a i n t s of lesser, l o c a l i m p o r t a n c e m i g h t use c h a n t s f r o m t h e C o m m o n of S a i n t s , b u t m a n y c o m p o s e r s w e r e i n s p i r e d t o c o m p o s e a n e w o f f i c e f o r the p a t r o n s a i n t of t h e t h e i r c h u r c h o r d i o c e s e , u s i n g m o d e r n

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latter t w o naturally

p r o m u l g a t e d by their respective religious orders), w h i c h stimulated contrafacta s u r v e y e d n i n e t y - n i n e offices i n sources f r o m the R h i n e area. O f these seventeen

other saints, that is, the same m u s i c was u t i l i z e d for new texts. J a m m e r s ( 1 9 2 9 - 3 0 ) w i d e l y o r f a i r l y w i d e l y k n o w n o u t s i d e t h a t a r e a , e i g h t w e r e p r o m u l g a t e d b y o n e of t h e r e l i g i o u s o r d e r s , t w e l v e w e r e k n o w n i n a r e s t r i c t e d a r e a , i n c u d i n g at least p a r t of t h e R h i n e l a n d , w h i l e t h e r e m a i n i n g s i x t y - t w o w e r e s u n g i n o n l y a h a n d f u l of c h u r c h e s o r even just one. T h e s e figures s e e m t y p i c a l of t h e g e n e r a l p i c t u r e of d i s t r i b u t i o n , as i n d e e d t h e y w o u l d b e f o r m a n y t y p e s of r e l a t i v e l y n e w l i t u r g i c a l m a t e r i a l . O n e o r t w o i s o l a t e d m e t r i c a l o f f i c e a n t i p h o n s a n d r e s p o n s o r i e s , s u c h as t h e a n t i p h o n Solve iubente Deo f r o m t h e o f f i c e f o r S t P e t e r (text i n h e x a m e t e r s , AM 9 9 3 , AS 412; m a y be p r e - C a r o l i n g i a n . O t h e r m e t r i c a l or r h y m i n g o r otherwise p o e t i c a n t i p h o n s a n d r e s p o n s o r i e s are o c c a s i o n a l l y to be f o u n d a m o n g s a i n t s ' o f f i c e s of t h e n i n t h c e n t u r y . H u c b a l d of S a i n t - A m a n d ( d . 930) is c r e d i t e d o n i n d i f f e r e n t a u t h o r i t y w i t h a n u m b e r of t e x t s ( A H 13, 133 f f . , 2 0 0 f f . , 225 f f . ; A H 2 6 , 230 f f . ) . H e a p p e a r s t o h a v e a b e t t e r c l a i m t o t h e a n t i p h o n s o f a S t P e t e r o f f i c e w h i c h has s u r v i v e d i n t r a n s c r i b a b l e n o t a t i o n (see W e a k l a n d 1 9 5 9 ) . T h i s o f f i c e is n o t v e r s i f i e d . A n o t h e r e x a m p l e , e x c e p t i o n a l b o t h b e c a u s e it w a s n o t c o m p o s e d i n h o n o u r of a l o c a l s a i n t a n d b e c a u s e it w a s a d o p t e d a l l o v e r E u r o p e , is t h e T r i n i t y o f f i c e c o m p o s e d b y B i s h o p S t e p h e n of L i e g e (901-20). ( P a r t s o f t h e T r i n i t y o f f i c e are i n m o d e r n s e r v i c e - b o o k s , s u c h as A M 535 f f . ; f a c s i m i l e s of a m e d i e v a l o n e A S 2 8 6 f f . ; a n u m b e r of t h e s e e a r l y t e x t s are d i s c u s s e d a n d e d i t e d b y Jonsson 1968; t h e r e are f a c s i m i l e s of e l e v e n t h - c e n t u r y m e t r i c a l o f f i c e s i n D e l a p o r t e 1957 a n d 1 9 5 9 - 6 0 . ) It r e m a i n s t o b e s e e n to w h a t e x t e n t t h e m u s i c of t h e s e e a r l y o f f i c e s d i f f e r s f r o m t h a t of t h e rest o f t h e r e p e r t o r y . E v e n at t h i s e a r l y date the p i e c e s m a y be a r r a n g e d i n m o d a l o r d e r , as, f o r e x a m p l e , i n the T r i n i t y o f f i c e : modes Vespers antiphons responsories 1-5 1-8, 1-8, 7 1 N i g h t Office antiphons N i g h t Office

L a u d s a n t i p h o n s ( w h i c h a l l h a v e verses) 1 - 5 Different arrangements w e r e n a t u r a l l y r e q u i r e d f o r V e s p e r s a n d the N i g h t O f f i c e

( b u t n o t f o r L a u d s ) i n t h e m o n a s t i c f o r m o f the o f f i c e , w h i c h r e q u i r e d f o u r V e s p e r s a n t i p h o n s a n d t w e l v e N i g h t O f f i c e a n t i p h o n s a n d r e s p o n s o r i e s . (See A n d r e w H u g h e s 1983 f o r a n u m b e r of m o d a l s c h e m e s . ) A n o t h e r r e l a t i v e l y w e l l k n o w n e x a m p l e of a s a i n t ' s office w i t h c h a n t s i n m o d a l o r d e r b u t n o t i n v e r s e is t h a t f o r S t N i c h o l a s , s a i d to h a v e b e e n c o m p o s e d b y R e g i n o l d of E i c h s t a t t b e f o r e h e b e c a m e b i s h o p of t h e d i o c e s e ( 9 6 6 - 9 1 ) (see C h a r l e s J o n e s 1963; H o h l e r 1967; A S 354 f f . ) . C h a n t s i n r h y m i n g a c c e n t u a l verse are o c c a s i o n a l l y to be f o u n d i n o f f i c e s o f t h e

t e n t h c e n t u r y , b e c o m i n g m o r e f r e q u e n t i n the e l e v e n t h . A n e a r l y e x a m p l e is sanctissimi

Gloriosa

f o r S t G r e g o r y , a t t r i b u t e d to L e o I X ( 1 0 4 8 - 5 4 ) , t h e f o r m e r B i s h o p B r u n o

of T o u l ( f a c . B e r n a r d 1 9 7 7 ) . E x . 1 1 . 2 6 . 1 g i v e s the s e c o n d r e s p o n s o r y of t h i s o f f i c e , w h i c h is n a t u r a l l y i n m o d e 2 . A l t h o u g h t h e verse has a p s a l m v e r s e f o r its t e x t , it uses o n l y t h e f i r s t h a l f of the n o r m a l r e s p o n s o r y verse t o n e . T h e r e s p o n d has r a t h e r t h a n r e g u l a r l y r h y m i n g l i n e s , a n d t h e i r r h y t h m is v a r i e d . assonant

E x . 11.26.1. Responsorv Videns Rome vir beatus ( A n n e c y , privately o w n e d m a n u s c r i p t , fo. 139 )

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w ith t h a t of t h e v e r s e , o w e s
T

practically final

n o t h i n g t o the m e l o d i c i d i o m s of m o d e 2 r e s p o n s o r i e s . A m o n g o t h e r u n - G r e g o r i a n f e a t u r e s o n e c o u l d p i c k o u t the t w o ' G a l l i c a n ' c a d e n c e s ( ' p u e r o s ' , ' a n g e l i ' ) a n d t h e c a d e n c e . T h e figure at ' a n g e l i ' is c o n v i n c i n g e n o u g h i n its f u n c t i o n as a c a d e n c e , b u t it c a n b e f o u n d i n t e r n a l l y as w e l l , i n t h e first l i n e . T w o t u r n s as at ' b e a t u s ' c a n b e f o u n d i n t h e t r a d i t i o n a l r e p e r t o r y , b u t n o t t h r e e as at ' i l l i s ' . T h e n t h e r e are t h e C-E-G t r i a d s , at ' A n g l o r u m ' a n d t w i c e at ' i t e r s a l u t i s ' . T h e f a c t t h a t a l l b u t t w o l i n e s c a d e n c e o n D is also t y p i c a l f o r t h i s p e r i o d , so t h a t t h e p h r a s e s t e n d t o b e c o m e p r e o c c u p i e d w i t h t h e t o n a l s p a c e a b o v e a n d b e l o w D: compare 'bene i n q u i d ' a n d ' v u l t u nitent ut', so ' b e n e A n g l i ' a n d ' a n g e l i ' . T h e t e n d e n c y to r e p e t i t i o n m a y e x t e n d o v e r l i n e - e n d s , that ' v i r b e a t u s A n g l o r u m f o r t e p u e r o s ' is s i m i l a r to ' i l l i s m o n s t r a r i i t e r s a l u t i s e-'.

E x . 11.26.2. A n t i p h o n Gregorius

^ ~
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vigiliis ( A n n c c y , privately owned m a n u s c r i p t , fo.

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a n t i p h o n s b u t a l s o i n m o d e 2 ( E x . 1 1 . 2 6 . 2 ) . T h e r e are t w o ' G a l l i c a n ' c a d e n c e s i n t h e first l i n e a l o n e , a n d t w o l a t e r o n e s . E v e n 'ex spe v i g e b a t ' i n the last l i n e s o u n d s l i k e l y to c l o s e t h i s w a y (cf. ' G r e g o r i u s ' ) . It is n o t s u r p r i s i n g t h a t p h r a s e s w h i c h e x p l o r e comparison w i t h other facsimiles.) T h e r e s t r i c t i o n o f m e l o d i c g o a l s c o n t i n u e s as a f e a t u r e of t h e o f f i c e s i n c o m p l e t e l y regular accentual v e r s e of t h e l a t e r t w e l f t h c e n t u r y o n w a r d . E x . 1 1 . 2 6 . 3 g i v e s the the m o d e 1 a n t i p h o n s f r o m t h e o f f i c e of S t D o m i n i c : t h e a n t i p h o n f o r first V e s p e r s , offices a t t r i b u t e d to L e o , see Bernard 1980, with the s a m e r e s t r i c t e d a r e a s h o u l d s o u n d a l i k e : l i n e 1 is p r a c t i c a l l y i d e n t i c a l t o l i n e 4 . ( F o r a further

first a n d last a n t i p h o n s f o r t h e N i g h t O f f i c e a n d the first of L a u d s . A l l c a d e n c e s e x c e p t o n e are o n D , a , o r d. W h a t is m o r e , t h e s t a r t i n g n o t e s are a l m o s t as u n i f o r m , w i t h t w o - t h i r d s s t a r t i n g o n a, a n d the rest o n C , D , F\ and c

y

w i t h one G . N e a r l y all

m o v e m e n t is b y s t e p r a t h e r t h a n b y l e a p . T h e r e is n o r e p e t i t i o n of n o t e s , o n e of t h e b i g g e s t d i f f e r e n c e s b e t w e e n t h e s e a n d t h e o l d e s t G r e g o r i a n a n t i p h o n s . A l l is a c t i v i t y , t h o u g h on a s m a l l scale. There is n o s e n s e of l o n g e r p e r i o d s , so t h a t i n t h e first a n t i p h o n , f o r i n s t a n c e , t h e m u s i c d i v i d e s n a t u r a l l y a f t e r the first f o u r s y l l a b l e s of e a c h l i n e , e v e n t h o u g h t h e r e is n o t e x t r h y m e . T h e d i f f e r e n c e b e t w e e n p h r a s e s therefore t e n d s t o be a m a t t e r of h o w f a r i n w h i c h d i r e c t i o n , a n d h o w fast, t h e m e l o d y w i l l g o , b e t w e e n rather r i g i d l y o b s e r v e d poles a n d i n rather u n i f o r m m o t i o n . S u r p r i s i n g l y few l i n e s are c l o s e l y s i m i l a r ( c o m p a r e ' d o t a t a g l o r i a ' i n Gaude Adest dies leticie). felix a n d t h e last l i n e of I n d e e d , t h e r e s e e m s t o be a d e l i b e r a t e d e s i r e t o a v o i d r e p e t i t i o n nevertheless Compare,

( t h o u g h t h e r o o m f o r m a n o e u v r e is l i m i t e d ) , w h e n t h e c o n s t a n t r e c o u r s e t o t h e s a m e f e w t e x t p a t t e r n s w o u l d h a v e m a d e r e p e t i t i o n easy. M o d e r n w r i t e r s h a v e b e e n t e m p t e d t o s p e a k of ' f o r m u l a s ' ( J a m m e r s ) o r ' v a r i a t i o n s ' ( B e r n a r d ) . f o r S t T h o m a s of C a n t e r b u r y , g i v e n i n E x . Both agri antiphons make is artium artium the usual opening w h e r e a s Document w h a t Documentis II.26.4. progression t h r o u g h DGac> but Cultor

f o r e x a m p l e , t h e t h i r d a n t i p h o n of t h e N i g h t O f f i c e f o r S t D o m i n i c w i t h t h e s a m e o n e

t h e n t a k e s a n o t h e r l i n e t o m a k e a c a d e n c e o n b, agri

has a l r e a d y d o n e so a n d c o m e s s w i r l i n g d o w n ( w i t h o u t leaps) to E a g a i n . T h a t is a l s o d o e s i n l i n e 3, w h i l e Cultor r i s e s o n c e a g a i n to c.

D e l i b e r a t e m u s i c a l r h y m e m a y o c c a s i o n a l l y be f o u n d . T h u s t h e S t J a m e s o f f i c e i n the C o d e x C a l i x t i n u s i n c l u d e s some pieces i n r h y m e d prose w h e r e m u s i c a l r h y m e

26.

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E x . 11.26.3. A n t i p h o n s f r o m the office of St D o m i n i c ( R o m e , S a n t a S a b i n a X I V l i t . 1)

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E x . 11.26.4. A n t i p h o n s f r o m the offices of St D o m i n i c ( R o m e , Santa S a b i n a X I V lit. 1, fo. 296 ) and St T h o m a s of C a n t e r b u r y ( E d i n b u r g h , U n i v . L i b . 123, fo.
r

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the

responsory

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( e d . W a g n e r 1931, 73) has t h e f o l l o w i n g m u s i c a l r h y m e s c h e m e ( s m a l l

letters indicate an i d e n t i c a l cadence, capitals a w h o l e i d e n t i c a l l i n e ) : text r h y m e Jacobe virginei frater preciose Johannis q u i pius E r m o g e n e m revocasti corde ferocem ex m u n d i viciis ad h o n o r e m cunctipotcntis V . T u prece continua pro nobis o m n i b u s ora ( Q u i pius, etc.) G l o r i a patri almo natoque flamini sancto ( A d h o n o r e m , etc.) a b c c d d e e f f musical rhyme a B a B a B C D C D

T h e s h o r t n e s s of b r e a t h e v i d e n t i n t h e a n t i p h o n s j u s t d i s c u s s e d , o r p e r h a p s b e t t e r t h e c o n c e n t r a t i o n o n s h o r t , s e l f - c o n t a i n e d l i n e s , e x t e n d s also to r e s p o n s o r i e s . t h e y are m o r e o r n a t e , Since it i n t h e sense that s i n g l e s y l l a b l e s o f t e n h a v e m e l i s m a s ,

f r e q u e n t l y transpires that a self-contained m u s i c a l phrase m a y c o v e r n o m o r e t h a n a s i n g l e w o r d , o r e v e n a s i n g l e s y l l a b l e (see S t a b l e i n 1975, 163). E x . I I . 2 6 . 5 gives the f o u r t h r e s p o n s o r y of t h e m o n a s t i c o f f i c e of S t T h o m a s . W h i l e o n e m i g h t a r g u e f o r a single m u s i c a l phrase e n c o m p a s s i n g b o t h T o s t sex' a n d 'annos', others seem relatively s e l f - c o n t a i n e d : ' r e d i t ' , ' v i r ' , a n d ' s t a b i l i s ' , a n d o b v i o u s l y ' t h e s a u r u m ' . T h e s e are e a c h

27.

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E x . 11.26.5. R e s p o n s o r y Post sex

annos ( E d i n b u r g h , U n i v . L i b . 123, fo.

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c o m p a r a b l e w i t h l i n e s of a n t i p h o n s , b u t are n o w l a r g e l y m e l i s m a t i c r a t h e r t h a n b r o k e n u p b y c h a n g e s of s y l l a b l e . A l t h o u g h t h e r h y t h m i c s c h e m e s e m p l o y e d i n t h e s e t e x t s are t h e s a m e as i n r h y m e d sequences a n d L a t i n songs, t h e r e is n o o p p o r t u n i t y h e r e f o r s t r e s s e d pieces. syllables to d o m i n a t e t h e t o n a l i t y , as t h e y d o i n s y l l a b i c o r n e a r - s y l l a b i c

11.27.

M E T R E ,

A C C E N T ,

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A N D R H Y M E

I N

L I T U R G I C A L (i) M e t r e and Stress (ii) R h y m e (iii) Prose R h y t h m (Cursus) and Prose R h y m e

T E X T S

R a b y 1927; G a v e l 1954; Beare 1957; Strecker 1957; C r o c k e r 1958, ' M u s i c a ' ; N o r b e r g 1958; Oxford Classical Dictionary, Steiner, ' C u r s u s ' , NG; Fassler 1987. ' . w

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Stress with)

M o s t l i t u r g i c a l t e x t s are p r o s e , t a k e n f r o m ( o r c o m p o s e d to b e c o m p a t i b l e

b i b l i c a l p r o s e t e x t s s u c h as the B o o k of P s a l m s . V e r s e h a s , n e v e r t h e l e s s , a n i m p o r t a n t p l a c e i n t h e l i t u r g y , a n d a n y s u r v e y of p l a i n c h a n t m u s t of n e c e s s i t y r e f e r t o t e c h n i c a l a s p e c t s of L a t i n v e r s e : m e t r e , stress o r a c c e n t , r h y t h m , r h y m e , v e r s e - f o r m s , a n d so o n . I o f f e r h e r e a v e r y b r i e f i n t r o d u c t i o n to s o m e of t h e s e m a t t e r s , b e a r i n g i n m i n d t h a t s p e c i a l i s t s t h e m s e l v e s are d i v i d e d o v e r m a n y i s s u e s r e f e r r e d t o , s u c h as t h e n a t u r e of a c c e n t a n d i c t u s , a n d t h e n a t u r e a n d p r o g r e s s of t h e c h a n g e accentual A verse. in m i n d between metre (which concerns syllable f r o m m e t r i c a l to

d i s t i n c t i o n has t o b e b o r n e

l e n g t h s ) a n d s t r e s s . I n c l a s s i c a l L a t i n t h e t w o w e r e i n d e p e n d e n t . A l t h o u g h t h e r e is d i s a g r e e m e n t as to t h e n a t u r e of stress ( o r a c c e n t ) i n L a t i n at v a r i o u s p e r i o d s of t h e c l a s s i c a l age, it is at least c e r t a i n t h a t it p l a y e d n o p a r t i n t h e o r g a n i z a t i o n of c l a s s i c a l poetry. Later, o r g a n i z a t i o n of p o e t r y a c c o r d i n g to p a t t e r n s of s t r e s s e d syllables are cob e c a m e m o r e c o m m o n , a n d p o e m s are f o u n d i n w h i c h s t r e s s a n d m e t r e

o r d i n a t e d , so t h a t a l l s t r e s s e d s y l l a b l e s m i g h t also a l l b e l o n g o n e s . O r g a n i z a t i o n b y stress w a s o c c a s i o n a l l y so d o m i n a n t t h a t s y l l a b l e - l e n g t h s i n t h e i r t u r n w e r e i g n o r e d . I n d i s c u s s i o n s a b o u t t h e t e x t s of l i t u r g i c a l s o n g s of t h e t w e l f t h a n d t h i r t e e n t h t h e r e has b e e n a c e r t a i n a m o u n t of c o n t r o v e r s y a b o u t w h e t h e r a s t r e s s e d should necessarily be counted a l o n g one. Metre o n the and first stress are i m p o r t a n c e f o r t h e t r a n s c r i p t i o n a n d p e r f o r m a n c e of t h e s e s o n g s . I n c l a s s i c a l L a t i n s t r e s s e d s y l l a b l e s f a l l : (a) w o r d s ; (b) antepenultimate. C l a s s i c a l p o e t r y w a s o r g a n i z e d n o t a c c o r d i n g to stress b u t b y s y l l a b l e - l e n g t h , w h e r e g r o u p s of l o n g a n d s h o r t s y l l a b l e s w e r e r e c k o n e d i n 'feet'. T h e feet e n c o u n t e r e d m o s t f r e q u e n t l y i n l i t u r g i c a l p o e t r y are t h e f o l l o w i n g : trochee iamb " anapaest dactyl spondee tribrach s y l l a b l e of t w o - s y l l a b l e i n l o n g e r w o r d s o n t h e p e n u l t i m a t e s y l l a b l e if it is l o n g , o t h e r w i s e o n t h e centuries syllable of

obviously

It w a s c o m m o n i n c l a s s i c a l t i m e s to a c c o m p a n y t h e r e c i t a t i o n of p o e t i c t e x t s , i n p r i v a t e o r i n t e a c h i n g , w i t h r h y t h m i c m o v e m e n t s , of t h e h a n d o r a w a n d . E a c h f o o t w a s r e c k o n e d to h a v e t w o p a r t s : t h e arsis ('raising') a n d thesis ('setting or down'), plausus). r e f e r r i n g to u p w a r d a n d d o w n w a r d m o v e m e n t of t h e h a n d o r s t i c k . M a r k i n g of t h e feet i n t h i s w a y w a s r e f e r r e d to as m a r k i n g t h e ' b e a t ' (ictus, percussio, G r a m m a r i a n s a n d a u t h o r s of treatises o n p r o s o d y d o n o t a g r e e as to h o w it w a s d o n e , s o m e c a l l i n g e a c h m o v e m e n t , arsis o r t h e s i s , a n i c t u s , s o m e a s s i g n i n g o n e ' b e a t ' t o t h e u p + d o w n c o m b i n a t i o n , a n d s o m e t a k i n g a p a i r of feet i n o n e b e a t . T h e r e is a l s o d i s a g r e e m e n t as to h o w t h e i c t u s w a s m a r k e d , if at a l l , i n t h e d e c l a m a t i o n of t h e t e x t s . A n d it is n o t k n o w n if t h e b e a t s w e r e s p a c e d at r e g u l a r i n t e r v a l s , so t h a t , f o r e x a m p l e , a t r o c h e e t o o k u p t h e s a m e t i m e i n p e r f o r m a n c e as a s p o n d e e , p e r h a p s i n t h i s w a y :

trochee =

spondee crotchet ( B e a r e 1957, 57-65 summarizes the

d o t t e d c r o t c h e t -f q u a v e r = c r o t c h e t +

I n c l a s s i c a l L a t i n , i c t u s a n d s t r e s s w e r e i n d e p e n d e n t of e a c h o t h e r , a n d n e i t h e r s e e m to h a v e b e e n s t r o n g l y h e a r d i n p e r f o r m a n c e . problems a n d disagreement over ictus.) T h e m o s t c o m m o n c l a s s i c a l m e t r e s i n l i t u r g i c a l p o e t r y are t h e f o l l o w i n g ( f o r o t h e r s see N o r b e r g 1958, (a) ch. V ) : d a c t y l i c h e x a m e t e r s , w h e r e t h e first f o u r feet are e i t h e r d a c t y l s o r s p o n d e e s , t h e

f i f t h is a d a c t y l , a n d t h e last is a s p o n d e e ( o c c a s i o n a l l y a t r o c h e e ) : (or) (6) t h e e l e g i a c d i s t i c h ( d i s t i c h = t w o v e r s e s , i . e . a c o u p l e t ) , w h e r e a h e x a m e t e r is f o l l o w e d b y a d a c t y l i c p e n t a m e t e r . T h e p e n t a m e t e r is i n t w o h a l v e s : t h e first h a l f has t w o feet, e i t h e r d a c t y l s o r s p o n d e e s , p l u s o n e l o n g s y l l a b l e ; t h e s e c o n d h a l f has t w o dactyls and one further syllable: ( o r ) - - - (c) t h e s a p p h i c s t a n z a , w h o s e last l i n e is c a l l e d a n a d o n i u s : 1-3 trochee, spondee, d a c t y l , trochee, trochee or spondee 4 dactyl, trochee or spondee (the b e s t - k n o w n e x a m p l e is p r o b a b l y t h e h y m n Ut que ant laxis, Deacon). (d) (e) t h e a s c l e p i a d , i n its c a t a l e c t i c ( w a n t i n g a final s y l l a b l e ) o r m i n o r f o r m : spondee, d a c t y l , l o n g syllable, d a c t y l , trochee or spondee, l o n g syllable v a r i o u s t r o c h a i c a n d i a m b i c t r i m e t e r s ( h a v i n g t h r e e p a i r s of feet) o r t e t r a m e t e r s catalectic, ( h a v i n g f o u r p a i r s of f e e t ) ; a v e r y p o p u l a r o n e w a s the t r o c h a i c t e t r a m e t e r a t t r i b u t e d to P a u l t h e

o r t r o c h a i c s e p t e n a r i u s , c a l l e d t h e r h y t h m of t h e R o m a n l e g i o n s ' m a r c h i n g - s o n g s : (or) and

H e x a m e t e r s h a v e a l o n g h i s t o r y i n l i t u r g i c a l p o e t r y . T h e y are e v e n to be f o u n d a m o n g t h e p r a y e r t e x t s i n t h e s o - c a l l e d M o n e M a s s e s ( G a l l i c a n , e d . M o n e 1850 t r o p e t e x t s of t h e n i n t h c e n t u r y o n w a r d are i n h e x a m e t e r s , t r a d i t i o n a l g e n r e s , f o r e x a m p l e t h e M a r i a n i n t r o i t Salve M o h l b e r g , E i z e n h o f e r , a n d S i f f r i n 1958), t h o u g h not i n R o m a n f o r m u l a r i e s . M a n y a n d so are s o m e t e x t s i n parens. sancta

A m o n g l y r i c s t a n z a s , o n e a s s o c i a t e d w i t h t h e n a m e of S t A m b r o s e w a s f a r m o r e p o p u l a r t h a n a n y c l a s s i c a l m o d e l a m o n g c o m p o s e r s of o f f i c e h y m n s . T h i s is i n i a m b i c d i m e t e r ( i . e . h a v i n g t w o p a i r s of i a m b s ; s p o n d e e s are a l l o w e d f o r t h e first a n d t h i r d i a m b s ) . A m b r o s e ' s p o e t r y is s t i l l m e t r i c a l , r a t h e r t h a n r h y t h m i c a l : s t r e s s is n o t r e g u l a r a n d does not c o i n c i d e w i t h l o n g s y l l a b l e s :

Aeterne r e r u m conditor,

noctem

diemque qui

regis

et t e m p o r u m d a s t e m p o r a ,

ut a l l e v e s

fastidium.

T h e s a m e l a c k of c o r r e s p o n d e n c e b e t w e e n l o n g a n d s t r e s s e d s y l l a b l e s c a n be s e e n i n V e n a n t i u s F o r t u n a t u s ' Pange
t i i t

lingue

gloriosi
t

(trochaic tetrameter

catalectic):

Pange l i n g u a g l o r i o s i p r o e l i u m c e r t a m i n i s
I I I

et s u p e r c r u c i s t r o p a e o d i e t r i u m p h u m n o b i l e m

qualiter redemptor orbis immolatus vicerit. D u r i n g t h e late i m p e r i a l age, s p o k e n L a t i n a p p e a r s to h a v e lost g r a d u a l l y its l o n g a n d s h o r t - s y l l a b l e c o n t r a s t s , a n d stressed s y l l a b l e s , p r e v i o u s l y o n l y l i g h t l y f e l t , g a i n e d i n i n t e n s i t y . A c o n f l i c t b e t w e e n m e t r e a n d stress p a t t e r n , p r e v i o u s l y of l i t t l e o r n o significance, w o u l d p r e s u m a b l y have b e c o m e m o r e noticeable. It also m e a n t that, a l t h o u g h p o e t s c o n t i n u e d to w r i t e m e t r i c a l v e r s e s f o r c e n t u r i e s a f t e r , t h e y w o u l d h a v e h a d t o a c q u i r e k n o w l e d g e of c o r r e c t textbooks, q u a n t i t i e s at s e c o n d h a n d , f r o m t e a c h e r s a n d of the l a n g u a g e . A n d it b e c a m e rather than t h r o u g h natural experience

p o s s i b l e to w r i t e p o e t r y w h i c h i g n o r e d q u a n t i t i e s a n d w a s o r g a n i z e d a c c o r d i n g t o stress-patterns insteadpossible, b u t for centuries not generally t h o u g h t p r o p e r i n they e d u c a t e d c i r c l e s . N o r b e r g ( 1 9 5 8 , 92) c i t e s t h e case o f a n i n t h - c e n t u r y m o n k of S a i n t A m a n d w h o a s k s t h a t if h i s h e x a m e t e r s are n o t w o r t h y to be c a l l e d a ' c a r m e n ' , metrical verse. I h a v e p r e f e r r e d the t e r m ' a c c e n t u a l ' . T h e w o r d ' r h y t h m ' is o f t e n u s e d i n a n t i q u i t y a n d the w a s the proportional m a y at least b e g r a n t e d the n a m e of ' r i t h m u s ' , that i s , a p o e m i n a c c e n t u a l r a t h e r t h a n R a t h e r t h a n use t h e a d j e c t i v e ' r h y t h m i c ' to d e s c r i b e p o e t r y o r g a n i z e d a c c o r d i n g to stress-patterns, l o o s e l y n o w a d a y s w i t h a w i d e v a r i e t y of m e a n i n g s ; a n d rhythmus or accent. As Crocker (1958, 'Musica') explains, rhythmus

e a r l y M i d d l e A g e s h a d a p r e c i s e a n d s p e c i a l m e a n i n g not d i r e c t l y c o n n e c t e d to s t r e s s r e l a t i o n s h i p b e t w e e n t h e l e n g t h s of s o u n d s ( e . g . s y l l a b l e s , o r feet, o r g r o u p s of f e e t ) , w h e r e a s m e t r e w a s c o n c e r n e d w i t h t h e l e n g t h s of i n d i v i d u a l s o u n d s (syllables). the T h e p e r i o d r o u g h l y f r o m t h e t i m e of S t A u g u s t i n e ( 3 5 4 - 4 3 0 ) t h r o u g h to t h e n i n t h c e n t u r y s a w i n c r e a s i n g n u m b e r s of c o m p o s i t i o n s w h e r e stress c o i n c i d e d w i t h m e t r i c a l a c c e n t o r ictus. A n d i n o t h e r p o e m s the m e t r i c a l p a t t e r n s are T h e p o e t i c feet are n o w : anapaest . . ' dactyl spondee', replaced by stress-patterns. completely

t r o c h e e '. iamb .'

' t r i b r a c h ' .

T h e r e are e x a m p l e s of a c c e n t u a l t e x t s i n t h e s e c t i o n s o n h y m n s a n d v e r s u s a n d c o n d u c t u s a b o v e ( 1 1 . 1 5 a n d 2 4 ; N o r b e r g , c h . V I h a s v e r y m a n y m o r e ) . O n e of t h e s e is t h e C h r i s t m a s e p i s t l e farse w h i c h b e g i n s w i t h t h e s t r o p h e Laudes secula (various sources h a v e Laudem and/or dicant), which deo dicam per is i n t h e accentual

e q u i v a l e n t of a l c a i c m e t r e ( E x . 1 1 . 2 3 . 2 0 ) , t h a t i s , it is t h e s t r e s s - p a t t e r n w h i c h r e f l e c t s the alcaic m e t r e , not the quantities. S l i g h t deviations f r o m stress-patterns are c o m m o n i n a c c e n t u a l p o e t r y . N o r b e r g ( 1 9 5 8 ) uses a d e s c r i p t i v e c o d e i n d i c a t i n g s i m p l y h o w m a n y s y l l a b l e s t h e r e are i n a v e r s e , a n d w h e r e t h e last stress f a l l s . ' O x y t o n e ' ( o n final s y l l a b l e ) s t r e s s e s are u n k n o w n i n L a t i n p o e t r y , t h o u g h s o m e b e a r a m o d e r a t e l y w e a k o n e . T h e s t r e s s is 'paroxytone' (falling on the deo penultimate syllable) or 'proparoxytone' a n t e p e n u l t i m a t e ) . Laudes w i d e l y used in sequences, is t h e r e f o r e ' 5 p 4- 6 p p ' . '..'..)> Charles therefore (on the

O n e p a t t e r n p o p u l a r f r o m a b o u t t h e e l e v e n t h c e n t u r y is 4 p 4- 6 p p ('.'. versus, liturgical dramas, a n d r h y m e d offices. Daughters

J o n e s ( 1 9 6 3 , 1 2 2 - 3 9 ) t h o u g h t it G e r m a n i n o r i g i n , o n t h e e v i d e n c e of t h e H i l d e s h e i m s o u r c e of t h e S t N i c h o l a s m i r a c l e p l a y of t h e T h r e e (London, British L i b r a r y , A d d . 2 2 5 1 4 : Y o u n g , i i . 3 1 1 - 1 4 ) , w h i c h h e b e l i e v e d to d a t e f r o m t h e e a r l y e l e v e n t h c e n t u r y . H o h l e r ( 1 9 6 7 , 47) o b j e c t e d t h a t t h e m a n u s c r i p t is m o r e l i k e l y to date f r o m the early twelfth century, which means it is n o earlier than Paris, be B i b l i o t h e q u e N a t i o n a l e , l a t . 1139, found. A n o t h e r p o p u l a r m e d i e v a l p a t t e r n w a s t h e s o - c a l l e d ' G o l i a r d ' r h y t h m , 7 p p 4- 6 p (trochaic),
/

w h e r e o t h e r e x a m p l e s of t h e r h y t h m are t o

w h i c h b e c a m e w i d e l y p r a c t i s e d i n t h e t w e l f t h c e n t u r y . It is u s e d at t h e 46 ):
v

s t a r t o f a v e r s u s i n P a r i s 1139 ( f o .
t t
i i

Incomparabi 1iter

cum iocunditate is m o r e s i g n i f i c a n t i n t h a t , l i k e same

b u t w a s m u c h m o r e p o p u l a r i n s e c u l a r v e r s e , at least i n t h e u s u a l ' G o l i a r d ' s t r o p h e s of t w o s u c h verses w i t h d o u b l e r h y m e . IncomparabUiter v e r y m a n y t w e l f t h - c e n t u r y s o n g s , it e m p l o y s a v a r i e t y o f p a t t e r n s w i t h i n t h e

s o n g , p a t t e r n s w h i c h m a y be f o u n d e l s e w h e r e , to b e s u r e , b u t n o t i n t h i s p a r t i c u l a r c o m b i n a t i o n . T h e i d e a s e e m s to be to h a v e f o u r m a i n b e a t s i n e a c h l i n e : t h e r e is a c l e a r p a t t e r n of a l t e r n a t i n g s t r o n g a n d s e c o n d a r y b e a t s , w i t h w e a k b e a t s s o m e t i m e s a d d e d as a n a c r u s e s o r s u b t r a c t e d at cadences. Incomparabiliter c u m iocunditate gaudeamus pariter in hoc sollempnitate I n festis b e a t o r u m h u i u s et a l i o r u m . ( S e e N o r b e r g 1958, c h . V I f o r a w i d e r a n g e of e x a m p l es of o t h e r patterns.) I r e f e r r e d a b o v e to a ' r i t h m u s ' as a p o e m i n a c c e n t u a l r a t h e r t h a n m e t r i c a l v e r s e . A c t u a l l y , e v e n t h i s m a t t e r is d i s p u t e d , f o r i n a n u m b e r of p o e m s n e i t h e r m e t r i c a l feet

nor recognizable Suchier

stress-patterns seem

to be present.

It h a s b e e n

suggested

(see

1950; C r o c k e r

1958, ' M u s i c a ' , 9) t h a t t h e b a s i c

idea w a s to c o n t r o l the

n u m b e r of s y l l a b l e s i n e a c h l i n e , r e g a r d l e s s of q u a n t i t y o r s t r e s s , e x c e p t p e r h a p s at cadences ( e n d of line o r caesura). T h e t h e o r y of a ' s y l l a b l e - c o u n t i n g ' o r ' n u m e r i c a l ' poetry c i r c u m v e n t s the need medieval prosody. It is a m o o t p o i n t w h e t h e r o r n o t t h e m e t r i c a l a c c e n t s ( t h e ' i c t u s ' ) o r t h e s t r e s s accents were reflected in musical performance or notation. Tropes written in h e x a m e t e r s a n d o t h e r m e t r e s u s u a l l y h a v e m u s i c t o o o r n a t e to a l l o w a n y a p p r e c i a t i o n o f t h e q u a n t i t i e s of t h e t e x t . I n s y l l a b i c t e x t - s e t t i n g s s t r e s s e d s y l l a b l e s c o u l d i n t h e o r y b e h i g h l i g h t e d b y stress i n p e r f o r m a n c e . A n d s i n c e s t r e s s - p a t t e r n s r e p l a c e d of m u s i c a l r h y t h m w h e r e s t r e s s e d s y l l a b l e s t o o k l o n g n o t e s a n d u n s t r e s s e d took short ones. It is t r u e poetic that some late-medieval with sources d o notate sequences, a n d other genres m e n s u r a l l y , long a n d short patterns syllables hymns, of l o n g a n d s h o r t s y l l a b l e s , o n e m i g h t a r g u e t h a t it w o u l d b e i l l o g i c a l t o p o s i t a s y s t e m to e x p l a i n a p p a r e n t e r r o r s o r i r r e g u l a r i t i e s i n early-

notes (for exceptions

e x a m p l e t h e L a s H u e l g a s m a n u s c r i p t , e d . A n g l e s 1931 a n d G o r d o n A n d e r s o n 1 9 8 2 ; a n d M i c h a e l b e u e r n C a r t . 1 ; see L i p p h a r d t 1 9 8 0 ) . Y e t these m a y b e late w h i c h prove the rule.

(ii)

Rhyme

R h y m e also u n d e r w e n t a s u b s t a n t i a l c h a n g e i n t h e e a r l y M i d d l e A g e s . I t w a s u s e d i n classical poetry o n l y f o r special effect, b e c a m e c o m m o n a m o n g h y m n w r i t e r s i n the fifth a n d sixth centuries, h e l d its o w n d u r i n g the C a r o l i n g i a n renaissance 'unclassical' character), 'Rhyme' and reached a b r i l l i a n t apogee i n the songs centuries. i n the broad sense, i n c l u d i n g assonance l i t u r g i e s of t h e t w e l f t h a n d t h i r t e e n t h (despite its f o r the festal

here s h o u l d be u n d e r s t o o d

( s i m i l a r i t y of v o w e l s ) as w e l l as i d e n t i t y o f w h o l e s y l l a b l e s . N o t u n t i l t h e n i n t h c e n t u r y d i d p u r e m o n o s y l l a b i c r h y m e b e c o m e at a l l c o m m o n , a n d d i s y l l a b i c r h y m e is h a r d l y found before the eleventh collections. (the sequence Ambrose's Victimae paschali laudes is a n early e x a m p l e ) . N e i t h e r a s s o n a n c e n o r r h y m e is p a r t i c u l a r l y c o m m o n a m o n g t h e i t e m s i n medieval hymn hymns d o n o t use i t , w h i l e Venantius F o r t u n a t u s ' d o so o c c a s i o n a l l y (Pange w h i l e Vexilla regisprodeunt lingua, c i t e d a b o v e , has r a t h e r r a r e a s s o n a n c e s , of S e d u l i u s i n

is r e g u l a r l y a s s o n a n t ) . A solis ortus cardine

t h e fifth c e n t u r y is w o r t h q u o t i n g as a n e x a m p l e o f a n a b e c e d a r y h y m n ( e a c h s t r o p h e b e g i n s w i t h a d i f f e r e n t l e t t e r of t h e a l p h a b e t ) present t h o u g h not i n a consistent A solis ortus cardine adusque terrae l i m i t e m C h r i s t u m canamus p r i n c i p e m , natum M a r i a virgine. Some pattern: Beatus auctor saeculi servile corpus i n d u i t , ut carne carncm liberans non perderet q u o d c o n d i d i t . (etc.) w i t h a r h y m e w h i c h is c o n s i s t e n t l y

o t h e r uses o f r h y m e are less w e l l k n o w n . It w a s p o s s i b l y a f t e r S e d u l i u s '

e x a m p l e t h a t r h y m e i n h e x a m e t e r s w a s u s e d a f t e r t h e fifth c e n t u r y . H e x a m e t e r s o f t h e

C a r o l i n g i a n r e n a i s s a n c e e m p l o y it r a r e l y , b u t d u r i n g t h e n i n t h c e n t u r y it b e c a m e m o r e c o m m o n . I n a h e x a m e t e r , r h y m e is e f f e c t e d b e t w e e n t h e e n d - s y l l a b l e a n d the s y l l a b l e at t h e c a e s u r a , t h a t i s , at t h e m o s t p r o m i n e n t w o r d d i v i s i o n i n t h e v e r s e ( u s u a l l y a f t e r t h e first t w o a n d a h a l f f e e t ) . S u c h a h e x a m e t e r is c a l l e d ' l e o n i n e ' ( a f t e r t h e t w e l f t h c e n t u r y P a r i s i a n p o e t / c o m p o s e r L e o n i n u s , e r r o n e o u s l y b e l i e v e d to h a v e i n v e n t e d t h e t e c h n i q u e ) . A t R e i c h e n a u the f o l l o w i n g t r o p e verse was s u n g w i t h the i n t r o i t of H o l y I n n o c e n t s ' D a y ( C T 1, 146):

N o s pueri puero / resonemus c a r m i n a C h r i s t o ( E X O R E . . . ) a n d t h e f o l l o w i n g d i s t i c h s o n t h e O c t a v e ( C T 1, 137, 146):

M e n t i b u s intentis / resonemus c a r m i n a laudis et c u m psalmista / dicamus voce sonora ( E X O R E . . . ) N u n c fratres enesis / repetamus v e r b u l a dulcis quae psaltes regi / sic fert cantando perenni ( E X O R E . . . ) ( i i i ) Prose Rhythm (Cursus) and Prose Rhyme

C l a s s i c a l o r a t o r s m a d e u s e of m e t r i c a l p a t t e r n s i n p r o s e . A s e n t e n c e - e n d i n g ( c l a u s u l a ) e m p l o y e d a r e c o g n i z a b l e a n d a p p r o v e d s u c c e s s i o n of l o n g a n d s h o r t s y l l a b l e s . W h e n accentual rather t h a n m e t r i c a l verse became c o m m o n , the m e t r i c a l sentence-endings w e r e t r a n s f o r m e d i n t o a c c e n t u a l o n e s . I n e f f e c t it w a s a l w a y s t h e t w o final w o r d s ( t h e s e p a r a t i o n is i n d i c a t e d b y I b e l o w ) t h a t w e r e a f f e c t e d . a p p e a r to h a v e b e e n : Metrical 'cursus planus' 'cursus tardus, durus'or'ecclesiasticus' 'cursus velox' (most popular) 'cursus trispondaicus' ! I I
w w w w

The

commonest Accentual '. ' .'. '. ' '.. ' '. '

patterns

I ^

( F o r r h y t h m i n c l a s s i c a l p r o s e , see N o r d e n 1 9 2 3 ; i n m e d i e v a l p r o s e N i c o l a u 1930 a n d J a n s o n 1 9 7 5 ; see also B e a r e 1957, by speech-pauses) 193-205.) separated Norden 49). 1923, A n h a n g I; and especially A n o t h e r o r a t o r i c a l d e v i c e w a s p r o s e r h y m e , w h e r e p a i r s of c o l a ( p h r a s e s , h a d e n d - r h y m e . (See

P o l h e i m 1 9 2 5 . ) I n t h e l i t u r g y it is best k n o w n f r o m t h e p r a y e r s of t h e G a l l i c a n a n d e s p e c i a l l y M o z a r a b i c r i t e s (see P o r t e r 1958, The extent

to w h i c h t h e s e are r e l e v a n t to c h a n t t e x t s is d o u b t f u l . I n a m a s s i v e seem the

d e m o n s t r a t i o n i n P a l M u s 4 M o c q u e r e a u t r i e d to s h o w t h a t t h e a c c e n t u a l e n d i n g s o f m a n y chant texts were reflected i n t h e i r m u s i c a l settings. A l t h o u g h scholars a g r e e d t h a t c u r s u s s u r v i v e d t h r o u g h t h e p e r i o d f r o m t h e late i m p e r i a l age to

C a r o l i n g i a n r e n a i s s a n c e , a n d w a s n o t r e v i v e d f r o m a m o r i b u n d state b y n i n t h - c e n t u r y w r i t e r s , it is b y n o m e a n s c l e a r that t h e t e x t s of t h e o l d e r ' G r e g o r i a n ' r e p e r t o r y deliberately cultivate cursus. sentence-endings displaying M o c q u e r e a u ' s thesis was that cursus were matched by accented syllables i n notes. relatively higher

H o w e v e r , as A p e l a r g u e s ( 1 9 5 8 , 2 9 7 - 3 0 1 ) , t h e e v i d e n c e is n o t c o n v i n c i n g , e s p e c i a l l y not i n t h e e x a m p l e s w h i c h use t h e cadences of p s a l m tones, i n t r o i t verse tones, a n d r e s p o n s o r y v e r s e t o n e s ; t h e s e a r e f o r m u l a s w h i c h are a p p l i e d m e c h a n i c a l l y , a n d w o u l d seem b y their nature i n c a p a b l e of reflecting different cursus r h y t h m s . B e w e r u n g e ( 1 9 1 0 - 1 1 ) a n d F e r r e t t i (1913) b e l i e v e d that m e t r i c a l , n o t a c c e n t u a l , cursus patterns were involved. A s Apel again argues, Bewerunge's evidence is inconclusive a n d shows n o systematic attempt b y chant composers to m a t c h syllablel e n g t h s w i t h a g r e a t e r o r lesser n u m b e r o f n o t e s . F e r r e t t i l o o k s f o r c u r s u s p a t t e r n s i n the n o t e - g r o u p i n g s t h e m s e l v e s , also u n c o n v i n c i n g . It w o u l d s e e m t o b e m o r e p r o f i t a b l e t o i n v e s t i g a t e t h e o c c u r r e n c e of r h y t h m i c p r o s e a n d r h y m e p r o s e i n t h e n e w l i t u r g i c a l p r o s e t e x t s of t h e n i n t h c e n t u r y a n d l a t e r , p a r t i c u l a r l y i n s e q u e n c e s a n d t r o p e s . T h e i r r e l e v a n c e to s e q u e n c e s w a s s u g g e s t e d b y Polheim (1925, 350), a reference taken u p b y C r o c k e r (1958, 'Repertory', 163). end-rhyme Except for the obvious insistence o n line-endings i n a i n m a n y sequences, On the other h a n d , there i n d e p e n d e n t l y o f t h e t e x t , b u t h i s d e m o n s t r a t i o n is

appears to have p l a y e d little o r n o part i n their c o m p o s i t i o n until the eleventh c e n t u r y . is o f t e n a significant degree of i n t e r n a l assonance a n d planus ( t h o u g h n o t a l w a y s i t s u s u a l w o r d - d i v i s i o n ) is velox). planus m a y be f o u n d i n , for F-G-a-a-G w h e r e t h e five n o t e c a d e n c e a l l i t e r a t i o n . C r o c k e r investigated instances of cursus i n N o t k e r ' s texts ( C r o c k e r 1977), w h e r e t h e r h y t h m o f cursus Examples of assonance, o f t e n a p p a r e n t (also o c c a s i o n a l l y cursus e x a m p l e , N o t k e r ' s Johannes cursus
f

a l l i t e r a t i o n , a n d cursus jfesu Christo,

o c c u r s at t h e e n d o f v e r s e s 4 , 5 , a n d 7 . F i v e t i m e s o u t of s i x t h i s g o e s w i t h t e x t i n planus:
i t i i i

filii dei

esse p e r e n n i

dedit

custodem

pater revelat

semper c o m m e n d a

A s s o n a n c e a n d a l l i t e r a t i o n i n v e r s e 5 are u n d e r l i n e d : T e C h r i s t u s i n c r u c e t r i u m p h a n s m a t r i suae dedit c u s t o d e m , U t v i r g o v i r g i n e m servares atque c u r a m suppeditares. C r o c k e r ( 1 9 5 8 , ' R e p e r t o r y ' ) m a d e t h e s u g g e s t i o n that a r t - p r o s e , w i t h t h e r e p e r t o r y of o r n a m e n t s (tropi) s u c h as t h o s e j u s t o u t l i n e d , w a s a f o r m a t i v e i n f l u e n c e i n t h e e a r l y s e q u e n c e , a s u g g e s t i o n t h a t h a d t h e a d v a n t a g e o f t r e a t i n g t h e p r o s e t e x t s of s e q u e n c e s o n t h e i r o w n t e r m s r a t h e r t h a n as d e r i v a t i v e s of a m u s i c a l f o r m ( p r o s u l a s ) . C r o c k e r also p o i n t e d to the p o s s i b i l i t y of ' i s o c o l o n ' (or 'antithesis') t e c h n i q u e , that is, i d e n t i c a l clause l e n g t h s , i n t h e r e p e r t o r y o f t r o p i at t h e w r i t e r ' s d i s p o s a l ; a n d h e h a s r e p e a t e d l y s t r e s s e d that there are n u m e r o u s irregularities i n the double-versicle structure of e a r l y s e q u e n c e s . T h e e f f e c t of t h e s e o b s e r v a t i o n s is t o n a r r o w t h e g a p b e t w e e n a r t - p r o s e a n d early sequence texts. D e s p i t e this, the double-versicle arrangement seems too insistent f o r t h e s e q u e n c e t o b e r e g a r d e d as a r t - p r o s e p u r e a n d s i m p l e . H o w e v e r , t h e r e s o u r c e s o f t h e l a t t e r w e r e n o d o u b t o c c a s i o n a l l y e x p l o i t e d i n t h e c r e a t i o n of s e q u e n c e t e x t s .

Ill

L i t u r g i c a l Books and Plainchant Sources

111.1. I N T R O D U C T I O N

W o r d s w o r t h and Littlehales 1904; G a m B e r 1968; A n d r e w H u g h e s 1982; V o g e l 1986; H u g l o 1988, Livres.

T h e b o o k s i n w h i c h t h e p l a i n c h a n t h a s b e e n r e c o r d e d s i n c e C a r o l i n g i a n t i m e s are d i v e r s e i n n a t u r e a n d c o m p l e x i n c o n t e n t . T h i s is c h i e f l y b e c a u s e d i f f e r e n t b o o k s c o n t a i n m a t e r i a l f o r d i f f e r e n t p a r t s of t h e l i t u r g i c a l r o u n d a n d f o r t h e use of d i f f e r e n t personages involved in the celebration. The possible combinations are quite of n u m e r o u s , a n d at d i f f e r e n t t i m e s a n d p l a c e s a m u l t i t u d e of d i f f e r e n t s e l e c t i o n s m i n d are: 1. b e t w e e n b o o k s c o n t a i n i n g t e x t s a n d m u s i c to b e r e c i t e d o r s u n g , a n d b o o k s of i n s t r u c t i o n s as to h o w t h e l i t u r g y is to b e c e l e b r a t e d ; 2. 3. between books for the mass, books for the office, and books for other ceremonies; b e t w e e n b o o k s f o r the p r i e s t o r o t h e r o f f i c i a n t , b o o k s f o r t h e c a n t o r , a n d b o o k s for o t h e r p e r s o n s . T h e c h i e f c o n c e r n of t h i s s e c t i o n of t h e b o o k is n a t u r a l l y w i t h s o u r c e s c o n t a i n i n g m u s i c , w h i c h u s u a l l y m e a n s the c a n t o r ' s b o o k s . B u t c h a n t s m i g h t a l s o b e r e c o r d e d e l s e w h e r e . F o r e x a m p l e , t h e g r a d u a l , p r e c i s e l y b e c a u s e it is a c a n t o r ' s b o o k , d o e s n o t u s u a l l y c o n t a i n the m u s i c for the priest's r e c i t a t i o n of the c a n o n of m a s s . A n d the c h a n t s f o r c e r e m o n i e s p e r f o r m e d b y a b i s h o p are u s u a l l y t o b e f o u n d i n a p o n t i f i c a l , a l t h o u g h m o s t are c h o i r c h a n t s . T h e n a g a i n , c h a n t - b o o k s m i g h t b e c o m b i n e d i n v a r i o u s w a y s w i t h b o o k s c o n t a i n i n g t e x t s . T h e later m e d i e v a l m i s s a l a n d b r e v i a r y are c o m b i n a t i o n s of t h i s s o r t , t h o u g h n o t t h e o n l y o n e s : c o m b i n e d i n the m i s s a l : g r a d u a l ( c h a n t s of m a s s ) s a c r a m e n t a r y ( p r a y e r s of m a s s ) e p i s t o l a r y a n d e v a n g e l i a r y ( l e s s o n s of m a s s )

m a t e r i a l h a v e b e e n m a d e . S o m e i m p o r t a n t d i s t i n c t i o n s w h i c h s h o u l d be b o r n e i n

c o m b i n e d i n the b r e v i a r y : a n t i p h o n e r (office chants) psalter hymnal collectar (office prayers) h o m i l i a r y , l e c t i o n a r y , passionary (office lessons) S o m e k n o w l e d g e of l i t u r g i c a l b o o k s o t h e r t h a n t h o s e w i t h o n l y m u s i c is d e s i r a b l e because they m a y c o n t a i n valuable i n f o r m a t i o n about the l i t u r g i c a l c o n t e x t i n w h i c h t h e c h a n t w a s s u n g , o r i n d i c a t e b y text i n c i p i t t h e state of t h e c h a n t r e p e r t o r y . O l d e r t h a n a n y c h a n t - b o o k are a n u m b e r of o r d i n e s , o r b o o k s of i n s t r u c t i o n a b o u t h o w t h e l i t u r g y w a s p e r f o r m e d . T h e s e o f t e n d e s c r i b e t h e p a r t p l a y e d b y t h e c h o i r i n the l i t u r g y d u r i n g a p e r i o d (the e i g h t h a n d n i n t h c e n t u r i e s ) w h e n first-hand m u s i c a l e v i d e n c e is l a c k i n g . M a n y l a t e r m e d i e v a l o r d i n a l s , t h e d e s c e n d a n t s of t h e e a r l i e r o r d i n e s , s p e c i f y e x a c t l y w h i c h c h a n t s are t o be s u n g o n w h i c h o c c a s i o n s . T h i s m a y b e i n v a l u a b l e if w e h a v e f e w o r n o o t h e r b o o k s f r o m the c h u r c h w h e r e t h e o r d i n a l w a s u s e d . It g o e s w i t h o u t s a y i n g t h a t s o m e k n o w l e d g e of t h e l i t u r g y , a n d p a r t i c u l a r l y of h o w the m a t e r i a l is d i s p o s e d o v e r t h e c h u r c h y e a r , is e s s e n t i a l w h e n d e a l i n g w i t h l i t u r g i c a l b o o k s . T h e r e v e r s e is a l s o to s o m e e x t e n t t r u e . T h e r e is n o b e t t e r w a y t o d i s c o v e r t h e i n t r i c a c i e s of t h e m e d i e v a l l i t u r g y a n d e n t e r i n t o its m o d u s o p e r a n d i t h a n b y l e a r n i n g to find o n e ' s w a y a r o u n d m e d i e v a l l i t u r g i c a l m a n u s c r i p t s . V o g e l ( 1 9 8 6 ) is a n e x c e l l e n t i n t r o d u c t i o n to t h e s t u d y of e a r l y m e d i e v a l l i t u r g i c a l sources other t h a n m u s i c - b o o k s and office-books (sizeable lacunae), w i t h bibliographies. Its s t r e n g t h lies i n t h e c o v e r a g e of e a r l y o r d i n e s , exhaustive sacramentaries,

l e c t i o n a r i e s , a n d p o n t i f i c a l s , b u t it i g n o r e s c h a n t s o u r c e s a l m o s t c o m p l e t e l y . N o r d o e s it d e s c r i b e h o w t h e m a t e r i a l i n t h e b o o k s is p u t t o g e t h e r , that is, w h i c h p i e c e f o l l o w s which, h o w the s e a s o n s of t h e l i t u r g i c a l year are disposed, in short, what the the n e w c o m e r to m e d i e v a l m a n u s c r i p t s m i g h t find w h e n he o r she first e n c o u n t e r s

s o u r c e s t h e m s e l v e s . A h e r o i c a t t e m p t at t h i s w a s m a d e , h o w e v e r , b y A n d r e w H u g h e s ( 1 9 8 2 ) . E x p e r i e n c e s h o w s t h a t H u g h e s ' s b o o k is m o s t u s e f u l as a r e f e r e n c e t o o l a n d support for advanced studies. It deals chiefly w i t h later medieval missals and b r e v i a r i e s ( t h e l a t t e r are u n d o u b t e d l y a m o n g t h e m o s t c o m p l e x of a l l s e r v i c e - b o o k s ) , a n d is a m i n e of i n f o r m a t i o n a b o u t t h e l i t u r g y . It g i v e s a n u m b e r of b r i e f t a b l e s of contents of s e l e c t e d sources ( 3 9 0 - 4 0 8 ) . G a m b e r ' s Codices liturgici contains basic b i b l i o g r a p h i c a l i n f o r m a t i o n a b o u t o v e r 1,500 e a r l y l i t u r g i c a l s o u r c e s . H u g l o ' s r e c e n t s u r v e y ( 1 9 8 8 , Livres) in A G .
r

s u p p l e m e n t s h i s n u m e r o u s a r t i c l e s o n i n d i v i d u a l t y p e s of b o o k

T h e best w a y to l e a r n h o w t o find o n e ' s w a y a b o u t a p a r t i c u l a r m e d i e v a l l i t u r g i c a l m a n u s c r i p t a n d to r e a d it fluently is to h a v e a m o d e r n e d i t i o n of a s i m i l a r b o o k to h a n d . E v e n t h o s e m e d i e v a l b o o k s of r o u g h l y t h e s a m e t y p e , age, a n d p r o v e n a n c e are n o t e x a c t l y t h e s a m e , b u t t h e y d o not v a r y i n o r d i n a t e l y f r o m o n e a n o t h e r . W i t h t h e a i d of a p r o p e r l y i n d e x e d m o d e r n e d i t i o n of a m i s s a l o r a b r e v i a r y it is u s u a l l y p o s s i b l e to locate o n e s e l f o n t h e r i g h t f e a s t - d a y a n d a c q u i r e a w o r k i n g k n o w l e d g e of the h e a v i l y abbreviated or otherwise incomprehensible rubrics or titles of formularies or

i n d i v i d u a l i t e m s . B r e v i a r i e s a n d m i s s a l s , s i n c e t h e y also c o n t a i n c h a n t s , c a n t h u s act as a g u i d e f o r a n t i p h o n e r s a n d g r a d u a l s . T h e m o s t r e c o m m e n d a b l e b o o k s f o r use as r e f e r e n c e s i n t h i s w a y are (a) Vatican Breviaiium Missal II reforms, ad usum Sarum m o d e r n Roman/Solesmes service-books before the postGR, /Ml, a n d AM\ (b) such editions as ( e d . P r o c t e r a n d W o r d s w o r t h 1 8 7 9 - 8 6 ) a n d The Sarum p a r t i c u l a r l y LU,

( e d . L e g g 1 9 1 6 ) . N a t u r a l l y , t h e u s e f u l n e s s of t h e m o d e r n e d i t i o n w i l l v a r y

a c c o r d i n g to h o w c l o s e l y r e l a t e d is t h e m e d i e v a l use b e i n g c o m p a r e d w i t h i t . S i n c e m o d e r n e d i t i o n s of m e d i e v a l c h a n t - b o o k s i n t h e i r e n t i r e t y are p r a c t i c a l l y n o n - e x i s t e n t , e i t h e r t h e m o d e r n R o m a n / S o l e s m e s e d i t i o n s or w e l l - i n d e x e d f a c s i m i l e s h a v e t o b e used w h e n d e a l i n g w i t h the m u s i c itself. T h e r e is g e n e r a l a g r e e m e n t , b u t n o u n i v e r s a l s t a n d a r d , o n t h e n o m e n c l a t u r e of m e d i e v a l l i t u r g i c a l s o u r c e s . S i n c e so m a n y b o o k s c o m b i n e h e t e r o g e n e o u s m a t e r i a l , it s e e m s p o i n t l e s s to t r y to b e o v e r - s p e c i f i c i n finding t h e r i g h t l a b e l . F o r e x a m p l e , b o o k s c o m m o n l y r e f e r r e d t o as t r o p e r s c o u l d c o n t a i n s u c h a d i v e r s i t y of m a t e r i a l ( c e r t a i n l y n o t j u s t t r o p e s ) t h a t t h e t i t l e is a l m o s t m e a n i n g l e s s , a n d r e f e r e n c e t o a s h o r t l i s t of t h e c o n t e n t s of e a c h i n d i v i d u a l ' t r o p e r ' is e s s e n t i a l . O n l y t h e n c a n o n e see w h a t s u c h b o o k s have i n c o m m o n w i t h each other and where they differ. ( F o r suggested typologies and n o m e n c l a t u r e s , see F i a l a a n d I r t e n k a u f , 1 9 6 3 , also t h e s u r v e y s i n E h r e n s b e r g e r a n d C a b r o l 1930, a n d t h e l i s t i n A n d r e w H u g h e s 1982, earliest would liturgical books. have been The last c h a p t e r As musical 119-20.) which are not the 1887

I n t h e f o l l o w i n g s e c t i o n s m o s t of t h e d i s c u s s i o n c e n t r e s o n m u s i c - b o o k s a n d t h e is d e v o t e d t o t o n a r i e s , sources they l i t u r g i c a l i n t h e s e n s e t h a t t h e y d o n o t r e c o r d a p o r t i o n o f t h e l i t u r g i c a l r o u n d as it performed. nevertheless aided p e r f o r m a n c e of c h a n t , a n d r a t h e r t h a n p l a c e t h e m i n t h e c h a p t e r o n t h e o r y I h a v e brought t h e m in here. B o o k s of h o u r s , b e i n g f o r p r i v a t e use r a t h e r t h a n p u b l i c w o r s h i p , are n o t d i s c u s s e d .

III.2. A n d r i e u 1 9 3 1 - 6 1 ; V o g e l 1986, In Andrieu's authoritative

O R D I N E S 135-224. are

R O M A N I

e d i t i o n there

fifty

Ordines

Romani.

They

are

d e s c r i p t i o n s of h o w v a r i o u s p a r t s of t h e R o m a n l i t u r g y s h o u l d b e p e r f o r m e d . T h e i r contents reach back to the m i d - s e v e n t h c e n t u r y and f o r w a r d into the n i n t h . A l t h o u g h b a s e d o n t h e l i t u r g i c a l p r a c t i c e of t h e c i t y of R o m e i t s e l f , a l l s u r v i v i n g c o p i e s Frankish, a n d s o m e of t h e o r d i n e s h a v e b e e n a d a p t e d t o a c c o m m o d a t e usages. A t t h e same t i m e as the F r a n k s w e r e a c q u i r i n g b o o k s of p r a y e r s
T

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a n d o t h e r m a t e r i a l f r o m R o m e , t h e y also r e q u i r e d b o o k s of i n s t r u c t i o n o n c e r e m o n i a l . W e h a v e r e p o r t s of F r a n k i s h p i l g r i m s a n d c h u r c h m e n s e e k i n g o u t l i t u r g i c a l b o o k s i n R o m e f r o m as e a r l y as t h e s e v e n t h c e n t u r y , a p r a c t i c e w h i c h b e c a m e r o y a l p o l i c y i n t h e m i d - e i g h t h c e n t u r y ( V o g e l , 1 4 7 ) . C a r e f u l a n a l y s i s has r e v e a l e d w h i c h o r d i n e s are liturgically compatible w i t h w h i c h sacramentaries. Some reflect p a p a l usage (the

L a t e r a n c h u r c h ) , s o m e t h e p r a c t i c e of o t h e r c h u r c h e s i n o r a b o u t R o m e of m a s s (Ordines I - X ) , the s p e c i a l r i t u a l s t h r o u g h o u t t h e y e a r s u c h as of Holy Week, etc. (Ordines

(such

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S t P e t e r ' s at t h e V a t i c a n ) . T h e b i g g e s t g r o u p s d e s c r i b e , r e s p e c t i v e l y : t h e c e l e b r a t i o n processions, and earliest, rogations, ceremonies XX-XXXIII),

ordinations ( X X X I V - X L ) . O r d o R o m a n u s I (trans.

T h e o r d i n e s v a r y g r e a t l y i n l e n g t h . O n e of t h e

A t c h l e y 1 9 0 5 ) , g i v e s a v e r y f u l l d e s c r i p t i o n of t h e p a p a l

e u c h a r i s t i n t h e e a r l y e i g h t h c e n t u r y , w h i c h c a n be s h o w n to h a v e b e e n k n o w n i n F r a n c i a b y a b o u t 7 5 0 . O t h e r s are m u c h s h o r t e r . A l t h o u g h the O r d i n e s R o m a n i contain no m u s i c , a n d i n d e e d do not often give m o r e t h a n text i n c i p i t s for the few chants they may m e n t i o n , they contain important i n f o r m a t i o n f o r t h e m u s i c o l o g i s t . T h e y m a y r e v e a l t h e v a r i o u s r o l e s of s o l o i s t s a n d c h o i r i n t h e p e r f o r m a n c e of c h a n t s . T h e y are e s p e c i a l l y v a l u a b l e w h e n p u t s i d e b y s i d e w i t h o t h e r w i t n e s s e s to e a r l y R o m a n u s a g e , f o r e x a m p l e , t h e w r i t i n g s of A m a l a r i u s of M e t z , a n d c a n be c o m p a r e d w i t h the m u c h later R o m a n c h a n t - b o o k s for l i t u r g i c a l peculiarities. This is t h e case, for example, with Ordo Romanus XII, a brief d e s c r i p t i o n of t h e o f f i c e w h i c h m e n t i o n s a n u m b e r of c h a n t s b y i n c i p i t . ( A n d r i e u ' s edition points out the correspondences w i t h A m a l a r i u s ' description.) O n e i m p o r t a n t s o u r c e of o r d i n e s , B r u s s e l s , B i b l i o t h e q u e R o y a l e 1 0 1 2 7 - 1 0 1 4 4 , a l s o has a c o p y of the c h a n t t e x t s of m a s s to b e s u n g t h r o u g h o u t t h e y e a r , i n o t h e r w o r d s a g r a d u a l w i t h o u t m u s i c . T h e c o n t e n t s of t h e m a n u s c r i p t , t h e f a m o u s ' B l a n d i n i e n s i s ' ( s o - c a l l e d b e c a u s e it b e l o n g e d to St Peter's abbey o n M o n t - B l a n d i n at G h e n t ) are as f o l l o w s (see A n d r i e u , i . 9 1 - 6 ) . t h e f o l i o n u m b e r s g i v e a n i d e a of the l e n g t h of t h e t e x t s . ff. l - 7 9
r v

c a n o n i c a l t e x t s , e x t r a c t s of c o r r e s p o n d e n c e of p o p e s O r d o R o m a n u s 1 3 : list of t h e b o o k s of t h e b i b l e t o be r e a d d u r i n g the N i g h t Office

79

80 -82
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e n d of a treatise o n the e c c l e s i a s t i c a l B e d e o n t h e o r d e r i n g of E a s t e r L e n t to H o l y Saturday ferias

computus fifth S u n d a y of

82 -84
v

84 -85
r

O r d o R o m a n u s 2 6 : o r d e r i n g of s e r v i c e s f r o m t h e

85 -86
r

O r d o R o m a n u s 3 : s i x s h o r t R o m a n a n d P r a n k i s h p o i n t s of l i t u r g i c a l practice O r d o R o m a n u s 14: l i s t of r e a d i n g s f o r the o f f i c e at S t P e t e r ' s , H o l y W e e k to t h e S a t u r d a y after Easter Rome

86 -88
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o r d o for i n i t i a t i n g a sick c a t e c h u m e n blessings for holy objects a n d substances p r o p e r prayers for eleven masses

S o m e of t h e m a t e r i a l i n t h e O r d i n e s w a s e v e n t u a l l y t a k e n u p i n t h e r u b r i c s of o t h e r t y p e s of b o o k , a n d f r o m t h e t w e l f t h to t h i r t e e n t h c e n t u r y o r d i n a l s a p p e a r w i t h m u c h f u l l e r l i s t i n g o f i t e m s to b e p e r f o r m e d at s e r v i c e s t h r o u g h o u t t h e y e a r . M u c h of t h e c e r e m o n i a l d e s c r i b e d i n t h e O r d i n e s R o m a n i w a s to be p e r f o r m e d b y t h e p o p e , o r at

least

a bishop,

and

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subsumed

i n the

pontifical. Andrieu's O r d o

R o m a n u s L w a s a c t u a l l y c o p i e d s i d e b y s i d e w i t h t h e R o m a n o - G e r m a n p o n t i f i c a l of t h e 9 5 0 s , w h i c h b e c a m e s t a n d a r d i n t h e E m p i r e a n d i n R o m e i t s e l f . It is a s o m e w h a t heterogeneous m i s c e l l a n y of c u r r e n t a n d a r c h a i c R o m a n c e r e m o n i e s , together with c o m m e n t a r y , a collector's book rather than p u r e l y for l i t u r g i c a l use.

111.3. (i) (ii) (i)

S A C R A M E N T A R I E S

A N D

L E C T I O N A R I E S

Sacramentaries Lectionaries Sacramentaries

G a m b e r 1958, 1968; H o p e i n C h e s l y n Jones et D a r r a g o n 1 9 8 2 - 3 ; V o g e l 1986, 3 1 - 1 3 4 . T h e sacramentary for consecrations, o r liber sacramentorum

al.

1978,

224-8;

Deshusses

and

was the b o o k c o n t a i n i n g the texts to be

r e c i t e d b y t h e o f f i c i a t i n g p r i e s t ( b i s h o p , p o p e ) at m a s s , f o r a d m i n i s t e r i n g s a c r a m e n t s , o r d i n a t i o n s , a n d o t h e r r i t e s . It w a s , i n e f f e c t , a b o o k of p r a y e r s , a l t h o u g h it t a k e s its t i t l e f r o m t h e r i t e s r e p r e s e n t e d i n i t . T h e c h i e f p r a y e r s of m a s s d u r i n g t h e c e n t r a l M i d d l e A g e s w e r e t h e C a n o n , w i t h its p r o p e r p r e f a c e s f o r d i f f e r e n t t i m e s d u r i n g the year, a n d the collect, secret a n d p o s t c o m m u n i o n p r a y e r s , w h i c h w e r e p r o p e r for each mass. O r d i n a t i o n f o r m u l a r i e s a n d blessings w e r e also i n c l u d e d i n the sacramentary, b u t not lessons, c h o i r chant texts or r u b r i c s c o v e r i n g c e r e m o n i a l . D u r i n g t h e e a r l y c e n t u r i e s p r a y e r s w e r e p r o b a b l y m o s t l y i m p r o v i s e d a n d t h e r e is l i t t l e e v i d e n c e of a n y f o r m a l c o l l e c t i o n s of t e x t s . T h e first s i g n of t h e s e a p p e a r s at t h e e n d of t h e f o u r t h c e n t u r y a n d t h e b e g i n n i n g of t h e fifth. F o r example, Musaeus, a de viris 321; p r i e s t of M a r s e i l l e s ( d . c .460) is s a i d to h a v e c o m p i l e d a s a c r a m e n t a r y , t o g e t h e r w i t h a l e c t i o n a r y a n d a b o o k of r e s p o n s o r i e s ( t h a t i s , t h e i r t e x t s ) ( G e n n a d i u s , Liber illustribus: P L 58, 1104; see M o r i n 1937; G a m b e r 1959; V o g e l 1986, M c K i n n o n 1987, Music, 302-3,

170). M o s t e a r l y c o l l e c t i o n s s e e m t o h a v e b e e n n o m o r e t h a n Sacramentary seventh of t h e e a r l y

leaflets c o n t a i n i n g o n l y a f e w m a s s e s . T h e s o - c a l l e d L e o n i n e o r V e r o n a (in the m a n u s c r i p t V e r o n a , B i b l i o t e c a C a p i t o l a r e , L X X X V , c e n t u r y ) a p p e a r s to b e a c o n g l o m e r a t i o n of s u c h leaflets, o r libelli f r o m t h e fifth a n d s i x t h c e n t u r i e s ( e d . M o h l b e r g et al. T h e earliest f u l l sacramentaries 1956).

miss arum ^ c o m p i l e d

p e r h a p s f o r r e a s o n s of p r i v a t e p i e t y r a t h e r t h a n p u b l i c w o r s h i p ; its m a t e r i a l is R o m a n , of w h i c h t h e r e is c l e a r e v i d e n c e d a t e b a c k t o t h e

s e v e n t h c e n t u r y . A f e w of t h e m o r e i m p o r t a n t R o m a n a n d R o m a n - F r a n k i s h b o o k s m a y be m e n t i o n e d h e r e , b e c a u s e of b o t h t h e i r i n t r i n s i c i m p o r t a n c e a n d t h e l i g h t t h e y s h e d o n t h e a d o p t i o n of R o m a n use b y t h e F r a n k s i n t h e e i g h t h c e n t u r y . W h a t a c t u a l l y s u r v i v e s of R o m a n use is a g r o u p of s a c r a m e n t a r i e s b a s e d o n R o m a n b o o k s b u t w r i t t e n i n F r a n c i a a n d c o n t a i n i n g c e r t a i n a m o u n t s of G a l l i c a n m a t e r i a l . T h e c l a s s e s o r t y p e s into w h i c h following. they have been d i v i d e d are (following Vogel's characterizations) the

1. T h e ' O l d G e l a s i a n ' s a c r a m e n t a r y , b a s e d o n a b o o k r e f l e c t i n g t h e use o f t h e t i t u l a r c h u r c h e s of R o m e of t h e p e r i o d 6 2 8 - 7 1 5 . It s u r v i v e s i n R o m e , B i b l i o t e c a A p o s t o l i c a V a t i c a n a , R e g . lat. 316 ( p l u s P a r i s , B i b l i o t h e q u e N a t i o n a l e , l a t . 7 1 9 3 ) , w r i t t e n at 1960). T h e several sources book p e r h a p s c o m p i l e d at F l a v i g n y i n C h e l l e s r . 7 5 0 ( e d . M o h l b e r g et al. preserve

2. T h e ' F r a n k i s h ' or ' e i g h t h - c e n t u r y G e l a s i a n ' sacramentary. various versions based o n an archetype

B u r g u n d y , p e r h a p s d u r i n g the r e i g n o f P i p p i n I I I 'the S h o r t ' ( 7 5 1 - 6 8 ) . T h e

c o m b i n e s O l d G e l a s i a n m a t e r i a l , a p a p a l s a c r a m e n t a r y a d a p t e d f o r p r e s b y t e r a l use at the V a t i c a n , a n d t h e u s u a l l o c a l G a l l i c a n f o r m u l a r i e s . ( T h e S a c r a m e n t a r y of G e l l o n e , perhaps the most i m p o r t a n t of m a n y Frankish-Gelasian sacramentaries, has been edited by D u m a s and Deshusses, 1981.)

3. T h e ' G r e g o r i a n ' sacramentary. T h i s papal sacramentary was p r o b a b l y c o m p i l e d u n d e r H o n o r i u s I ( 6 2 5 - 3 8 ) ( r a t h e r t h a n G r e g o r y t h e G r e a t , 5 9 0 - 6 0 4 , w h o s e n a m e it b e a r s ) , a n d w a s s u p p l e m e n t e d w i t h n e w m a t e r i a l as r e q u i r e d d u r i n g t h e century and a half. A c o p y of t h e G r e g o r i a n s a c r a m e n t a r y i n its late-seventh-century s t a t e a p p e a r s to It of h a v e b e e n k n o w n to A l c u i n of T o u r s ( d . 8 0 4 ) , c h i e f l i t u r g i c a l a d v i s e r to C h a r l e m a g n e ; p e r h a p s it c a m e w i t h o t h e r b o o k s h e h a d s e n t f r o m h i s h o m e c i t y of Y o r k i n 7 9 7 . of L o u i s t h e P i o u s , a n d to A r n o , b i s h o p of S a l z b u r g ( 7 8 5 - 8 2 1 ) , f o r m e r a b b o t of t h e S a c r a m e n t a r y of T r e n t or S a l z b u r g ( e d . R e h l e a n d G a m b e r 1970, 1973). t h e n b e c a m e k n o w n t o S t B e n e d i c t o f A n i a n e ( d . 8 2 1 ) , the-great r e f o r m e r a n d a d v i s e r S a i n t - A m a n d a n d a f r i e n d of b o t h A l c u i n a n d B e n e d i c t ; it w a s u s e d i n t h e c o m p i l a t i o n I n its m i d - e i g h t h - c e n t u r y state t h e G r e g o r i a n s a c r a m e n t a r y w a s c o p i e d a n d s e n t b y H a d r i a n I ( 7 7 2 - 9 5 ) t o C h a r l e m a g n e b e t w e e n 784 a n d 7 9 1 . T h i s m a n u s c r i p t , w h i c h w a s k e p t at A a c h e n as a n e x e m p l a r B i b l i o t h e q u e M u n i c i p a l e 164). for further copies, has n o t s u r v i v e d , b u t 1971-9.) to a t r a n s c r i p t i o n m a d e f o r B i s h o p H i l d o a r d of C a m b r a i i n 8 1 1 - 1 2 s t i l l e x i s t s (See the e d i t i o n by Deshusses (Cambrai subsequent

It is c l e a r f r o m t h i s (i) t h a t w e o w e o u r k n o w l e d g e of t h e s e R o m a n s a c r a m e n t a r i e s

F r a n k i s h c h u r c h m e n , (ii) a n u m b e r of c o n f l i c t i n g types were c i r c u l a t i n g s i m u l t a n e o u s l y i n F r a n c i a , t o w h i c h w e s h o u l d a d d t h e m a t e r i a l b r o u g h t f r o m R o m e m o r e o r less p r i v a t e l y i n t h e f o r m of libelli. T h e r e also s u r v i v e f r o m e i g h t h - c e n t u r y F r a n c i a f o u r G a l l i c a n s a c r a m e n t a r i e s w h i c h c o n t a i n s m a l l a m o u n t s of R o m a n m a t e r i a l , the so-called ' M i s s a l e G o t h i c u m ' , ' M i s s a l e F r a n c o r u m ' , 'Missale G a l l i c a n u m vetus' and 'Missale Bobbiense'. T h e s a c r a m e n t a r y s e n t b y H a d r i a n at C h a r l e m a g n e ' s r e q u e s t w a s i t s e l f i n s u f f i c i e n t f o r F r a n k i s h p u r p o s e s . I n s t e a d o f t h e e x p e c t e d f o r m u l a r i e s f o r the c y c l e of S u n d a y s a f t e r C h r i s t m a s , E p i p h a n y , E a s t e r , a n d P e n t e c o s t , the ' H a d r i a n u m ' c o n t a i n e d m e r e l y a p o o l of p r a y e r s to c h o o s e f r o m as r e q u i r e d . It also l a c k e d p r a y e r s f o r and votive masses, which the Franks were accustomed to seeing sacramentaries. consecrations in previous Rome. the

It c o n t a i n e d , i n f a c t , o n l y w h a t the p o p e h i m s e l f w o u l d h a v e r e q u i r e d of t h e c i t y of c o m p i l e d an official supplement ( w i t h an engagingly The a d m i x t u r e s of G e l a s i a n m a t e r i a l i n

w h i l e celebrating i n the L a t e r a n a n d the stational churches B e n e d i c t of A n i a n e t h e r e f o r e frank preface: trans. Vogel, 87-8).

s u b s e q u e n t g e n e r a t i o n s of G r e g o r i a n s a c r a m e n t a r i e s b e a r w i t n e s s t o t h e less t h a n t o t a l s u c c e s s w i t h w h i c h C h a r l e m a g n e p r o m u l g a t e d ' R o m a n ' u s e , at least as f a r as t h e s a c r a m e n t a r y is c o n c e r n e d . S u c c e s s w a s i n a n y case h a r d l y f e a s i b l e , g i v e n t h e n a t u r e o f t h e m a t e r i a l s a n d t h e i m p o s s i b i l i t y of p u b l i s h i n g ' c o r r e c t ' b o o k s . The r e l e v a n c e of a l l t h i s t o t h e h i s t o r y of p l a i n c h a n t m a y b e s t a t e d as f o l l o w s . R o m a n m a t e r i a l of several different types c a m e n o r t h b o t h p i e c e m e a l a n d i n m o r e c o m p r e h e n s i v e c o d i c e s . Is t h i s h o w t h e c h a n t r e p e r t o r y , at least f o r m a s s , w a s a l s o t r a n s m i t t e d ? S i n c e it s e e m s u n l i k e l y t h a t m u s i c a l n o t a t i o n w a s u s e d u n t i l l a t e r i n t h e ninth century, w e s h o u l d presumably i m a g i n e books c o n t a i n i n g just chant texts, i n t e r m i n g l i n g t o a g r e a t e r o r lesser e x t e n t w i t h p r e v i o u s p r a c t i c e . I t m a y b e t h a t t h e d a t e o f t h e f i r s t r e c e n s i o n of t h e g r a d u a l , c o n t a i n i n g c h a n t t e x t s f o r t h e y e a r ' s c y c l e o f m a s s e s , w a s c o m p i l e d at a b o u t t h e s a m e t i m e as t h e first s u c h s a c r a m e n t a r y . W e h a v e no firm The e v i d e n c e for this, h o w e v e r . O n e c a n go n o f u r t h e r t h a n to suggest that t h e sacramentary as a s e p a r a t e b o o k g r a d u a l l y w e n t o u t o f u s e a f t e r t h e late lectionary, and/or g r a d u a l w e r e m a d e . sometimes notated T h e s e are have h i s t o r y of t h e t w o b o o k s m a y h a v e r u n p a r t l y p a r a l l e l . e l e v e n t h c e n t u r y , b e c o m i n g part of the m i s s a l . B e f o r e a n d d u r i n g that t i m e , v a r i o u s combinations chant-text of sacramentary, d i s c u s s e d b e l o w w h e r e t h e m i s s a l is d e s c r i b e d . A n u m b e r o f e a r l y s a c r a m e n t a r i e s incipits written i n their margins,

(two examples: 1975,

O x f o r d , B o d l e i a n L i b r a r y , B o d l e y 579, the ' L e o f r i c M i s s a l ' , text e d . W a r r e n , 1883; and Diisseldorf, Universitatsbibliothek D 107). N o c l a s s i f i c a t i o n of p o s t - C a r o l i n g i a n s a c r a m e n t a r i e s has b e e n c a r r i e d o u t t h e task is o f c o u r s e i m m e n s e t h o u g h c o m p a r i s o n s o f b o o k s f r o m s p e c i f i c a r e a s h a v e b e e n m a d e (for e x a m p l e , b y B r i t i s h scholars w h o s e w o r k appears i n the v o l u m e s of t h e Henry Bradshaw Society). 1, f a c s . Jammers 1952; Stablein

(ii)

Lectionaries

F r e r e 1934, 1935; K l a u s e r 1935; Chavasse 1952; G a m b e r 1968; V o g e l 1986, 2 9 1 - 3 5 5 . The lessons t o b e r e a d at m a s s w e r e t a k e n f r o m t h e B i b l e a n d w e r e k n o w n as

'pericopes'. T h e y were recorded i n one of several w a y s . T h e B i b l e c o u l d be m a r k e d u p w i t h crosses o r other signs i n the m a r g i n to i n d i c a t e the passages to b e r e c i t e d . L i s t s of p e r i c o p e s w e r e also d r a w n u p , k n o w n as c a p i t u l a r i e s , w h e r e i n c i p i t s a n d e x p l i c i t s w e r e r e c o r d e d . L a t e r t h e l e s s o n s w e r e c o p i e d o u t s e p a r a t e l y i n l e c t i o n a r i e s (a g e n e r a l t e r m for b o o k s w i t h lessons for mass), p e r h a p s d i v i d e d b e t w e e n t h e e p i s t o l a r y (lessons f r o m the E p i s t l e s , s u n g b y the subdeacon) a n d t h e e v a n g e l i a r y (lessons f r o m t h e G o s p e l s , s u n g b y the d e a c o n ) . A n o t h e r early n a m e f o r t h e l e c t i o n a r y , o r list of r e a d i n g s d e r i v e d f r o m a p r e - e x i s t i n g l e c t i o n a r y , is comes (Liber comitis, Liber commicus). I n t h e e a r l y c e n t u r i e s s c r i p t u r a l passages w o u l d h a v e b e e n c h o s e n m o r e o r less o n a n ad hoc b a s i s , a n d n o t b e f o r e t h e late f o u r t h c e n t u r y is t h e r e g o o d e v i d e n c e t h a t y e a r l y c y c l e s o f lessons w e r e o r g a n i z e d . T h e e x a m p l e o f M u s a e u s of M a r s e i l l e s h a s j u s t b e e n

m e n t i o n e d . M u c h of t h e o t h e r s u r v i v i n g e v i d e n c e of t h i s p e r i o d a l s o c o m e s ( 5 0 2 - 4 3 ) a n d t h e Expositio surviving Latin antiquae the liturgiae gallicanae,

from

G a u l : t h e i n f o r m a t i o n to be g l e a n e d f r o m t h e s e r m o n s of B i s h o p C a e s a r i u s of A r i e s a n d t h e e a r l i e s t of a l l lectionary W o l f e n b u t t e l , fifth to s i x t h c e n t u r y service-books: palimpsest Gallican

H e r z o g - A u g u s t - B i b l i o t h e k , W e i s s e n b u r g 76, d a t i n g f r o m the

( e d . D o l d , 1 9 3 6 ) . T h e W o l f e n b u t t e l s o u r c e is d o u b l y i m p o r t a n t b e c a u s e t e x t i n c i p i t s of c h a n t s to b e s u n g a f t e r t h e l e s s o n s are also i n c l u d e d ( D o l d , x c i v f f . ) . A l s o n o n R o m a n is t h e n e x t e a r l i e s t s o u r c e , t h e e p i s t o l a r y of C a p u a ( e d . R a n k e 1 8 6 8 ) , w r i t t e n c . 545 f o r V i c t o r of C a p u a , t a k e n to E n g l a n d p r o b a b l y b y A b b o t H a d r i a n of N i s i d a , w h o w a s o n e o f t h e c o m p a n i o n s of A r c h b i s h o p T h e o d o r e of C a n t e r b u r y , a n d l a t e r u s e d b y S t B o n i f a c e ) . A n o t h e r f a m o u s c o d e x is t h e L i n d i s f a r n e G o s p e l s , w r i t t e n c\700 at L i n d i s f a r n e b u t b a s e d o n a N e a p o l i t a n e x e m p l a r ( e d . S k e a t The non-Roman Latin liturgies had three readings at 1871-87). mass (from the Old

T e s t a m e n t , the N e w T e s t a m e n t , a n d the G o s p e l s , respectively), a n d this m a y have b e e n t h e o r i g i n a l usage i n R o m e as w e l l . T h e e a r l i e s t R o m a n w i t n e s s is t h e c a p i t u l a r y o r comes of W i i r z b u r g ( c . 7 0 0 b u t b a s e d o n a m o d e l of t h e t i m e of G r e g o r y t h e G r e a t , d . 6 0 4 ; e d . M o r i n 1910 a n d 1 9 1 1 ) . F o r s o m e m a s s e s t h i s s o u r c e h a s t h r e e l e s s o n s , b u t it s e e m s p o s s i b l e t h a t t h e e x t r a l e s s o n is a d u p l i c a t e (see M a r t i m o r t 1 9 8 4 ) . It w a s u n t i l r e c e n t l y w i d e l y h e l d t h a t t h e g r a d u a l a n d a l l e l u i a (or t r a c t ) of the m e d i e v a l m a s s m i g h t f o r m e r l y have been separated by another lesson (for otherwise there w o u l d be no p o i n t i n h a v i n g t w o c h a n t s h e r e ) , b u t l a t e l y it has b e e n a r g u e d t h a t t h e g r a d u a l i t s e l f o r i g i n a t e d as a p s a l m r e a d i n g ( M c K i n n o n 1 9 8 7 ; see t h e d i s c u s s i o n i n V I 1.5 b e l o w ) . F r o m at least t h e s e v e n t h c e n t u r y , at a n y r a t e , t w o l e s s o n s s e p a r a t e d b y c h a n t s e e m s to have been the rule i n R o m e . It s e e m s t h a t t h e s e l e c t i o n of e p i s t l e s a n d t h e s e l e c t i o n of g o s p e l s w e r e least, no system combining them a l l a c c o r d i n g to a l o g i c a l principle has made been For i n d e p e n d e n t l y of e a c h o t h e r a n d i n d e p e n d e n t l y of t h e c h a n t s a n d p r a y e r s of m a s s . A t d i s c o v e r e d . T h e h i s t o r y of t h e o r g a n i z a t i o n of the l e s s o n s , w h i c h c a n b e t r a c e d b a c k to a n e a r l i e r d a t e t h a n t h a t of p r a y e r s a n d c h a n t s , m a y t h r o w l i g h t o n t h e l a t t e r . before t h e t i m e of G r e g o r y the Great ( d . 604) and remain constant e x a m p l e , t h e l e s s o n s f r o m S e p t u a g e s i m a to E a s t e r a p p e a r to h a v e b e e n o r g a n i z e d thereafter. C h a v a s s e ( 1 9 5 2 ) has d e m o n s t r a t e d t h a t t h e d e v e l o p m e n t of the l e c t i o n a r y r e s e m b l e s t h a t of t h e g r a d u a l , r a t h e r t h a n t h e s a c r a m e n t a r y . O f the m a n y different arrangements, R o m a n and n o n - R o m a n , for w h i c h witnesses s u r v i v e f r o m t h e e i g h t h c e n t u r y , a F r a n k i s h - G r e g o r i a n t y p e first r e p r e s e n t e d b y t h e Comes of M u r b a c h ( e d . W i l m a r t 1913) e m e r g e d as t h e b a s i s of l a t e r m e d i e v a l u s a g e . u n l i k e t h a t of the s a c r a m e n t a r y , n o d o c u m e n t of p a p a l usage was occasions I n t h i s case,

s o l i c i t e d f r o m R o m e , a n d t h e r e a d i n g s w e r e a r r a n g e d t o fit t h e l i t u r g i c a l required by the F r a n k i s h - G e l a s i a n sacramentary.

L e c t i o n a r i e s w e r e c o m b i n e d w i t h s a c r a m e n t a r i e s and/or g r a d u a l s i n a n u m b e r of w a y s , c u l m i n a t i n g i n t h e m i s s a l s of t h e later M i d d l e A g e s . T h e s e are d i s c u s s e d b r i e f l y below (111.9). As with the sacramentary, no c l a s s i f i c a t i o n of p o s t - C a r o l i n g i a n m a n u s c r i p t s ( a p a r t f r o m late s o u r c e s of t h e o l d e r t y p e s ) has b e e n a c c o m p l i s h e d .

III.4.

G R A D U A L S

( M A S S A N T I P H O N E R S )

A N D C A N T A T O R I A

(i) I n t r o d u c t i o n (ii) G r a d u a l s w i t h o u t N o t a t i o n (iii) N o t a t e d G r a d u a l s S t a b l e i n , ' C a n t a t o r i u m ' , MGG; M e l n i c k i and S t a b l e i n , ' G r a d u a l e ( B u c h ' ) , MGG Graduel romain, II: Les Sources (1957); Graduel romain, IV: Le Texte neumatique (1960), 1962); Steiner, ' C a n t a t o r i u m ' , NG; H u g l o , ' G r a d u a l (ii)', NG; E m e r s o n , 'Sources, M S , I I ' , NG; A n d r e w H u g h e s 1982, 1 2 4 - 4 2 , 1 5 7 - 9 .
F A C S I M I L E S O F G R A D U A L S A N DN O T E D M I S S A L S :

B a m b e r g , Staatsbibliothek, l i t . 6: see B a m b e r g 6 Benevento, A r c h i v i o C a p i t o l a r e 3 3 : P a l M u s 20 Benevento, A r c h i v i o Capitolare 34: P a l M u s 15 Bratislava, etc., f r a g m e n t s : Missale notatum Strigoniense C h a r t r e s , B i b l i o t h e q u e M u n i c i p a l e 4 7 : P a l M u s 11 D a r m s t a d t , Hessische L a n d e s - u n d H o c h s c h u l b i b l i o t h e k 1946: Echtemacher rnentar und Antiphonar E i n s i e d e l n , S t i f t s b i b l i o t h e k 121 (sequentiary o m i t t e d ) : P a l M u s 4 G n i e z n o , A r c h i w u m A r c h i d i e c e z j a l n e 149: Missale planarium . . . G r a z , U n i v e r s i t a t s b i b l i o t h e k 807: P a l M u s 19 L a o n , B i b l i o t h e q u e M u n i c i p a l e 2 3 9 : P a l M u s 10 Sakra-

Gnesnensis

L e i p z i g , U n i v e r s i t a t s b i b l i o t h e k 391 (sequentiary o m i t t e d ) : W a g n e r 1 9 3 0 - 2 L o n d o n , B r i t i s h L i b r a r y , A d d . 12194 (without sequentiary): Graduale Sarisburiense M o n t p e l l i e r , Faculte de M e d e c i n e I I . 159: P a l M u s 8 Paris, B i b l i o t h e q u e N a t i o n a l e 903 (troper and sequentiary o m i t t e d ) : P a l M u s 13 P a n s , B i b l i o t h e q u e N a t i o n a l e 9 0 4 : L o r i q u e t et al 1907 Passau, p r i n t e d gradual of 1511: Graduale Pataviense R o m e , Biblioteca A n g e l i c a 123: P a l M u s 18 R o m e , Biblioteca A p o s t o l i c a Vaticana, V a t . lat. 10673: P a l M u s 14 St G a l l , Stiftsbibliothek 339: P a l M u s 1 St G a l l , Stiftsbibliothek 359: P a l M u s 11/2 St Petersburg, S a l t y k o v - S h c h e d r i n P u b l i c L i b r a r y O . v . I. 6: T h i b a u t 1912 Vasteras, p r i n t e d gradual of c . 1 5 1 3 : Graduale Arosiense V i e n n a , N a t i o n a l b i b l i o t h e k , ser. nov. 2700 (with an office a n t i p h o n e r ) : Antiphonar St. Peter private collection, the ' M o n t - R e n a u d m a n u s c r i p t ' ( w i t h an a n t i p h o n e r ) : P a l M u s 16 private collection of M a r t i n B o d m e r C . 74 ( O l d R o m a n ) : L u t o l f 1987
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GR; AMS (texts of six early sources); M M M A 2 ( R o m e , B i b l i o t e c a A p o s t o l i c a Vaticana, V a t . lat. 5319, O l d R o m a n ) ; S a n d o n 1984, 1986 ( S a r u m ) . (i) The Introduction t e r m g r a d u a l has b e e n used since the early M i d d l e A g e s to designate books

c o n t a i n i n g t h e p r o p e r c h a n t s of m a s s . I t s d e r i v a t i o n is o b s c u r e . T h e e a r l i e s t s u r v i v i n g

b o o k s of t h i s g e n e r a l t y p e b e a r t h e t i t l e ' a n t e f o n a r i u s ' (see H e s b e r t i n h i s a p p r o p r i a t e l y n a m e d Antiphonale i n t h e t i t l e of B r u s s e l s antefonarius ordinatus a sancto Gregorio missarum per

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1 0 1 2 7 - 1 0 1 4 4 (late e i g h t h c e n t u r y ) : ' I n d e i n o m e n i n c i p i t circulum anni'.

' a n t i p h o n a r i u s ' c o u l d also be u s e d of a b o o k c o n t a i n i n g o f f i c e c h a n t s , g r a d u a l is u s u a l l y p r e f e r r e d for the mass chant-book. H u c k e ( 1 9 5 5 , ' G r a d u a t e ' ) p o i n t e d o u t t h a t i n s e v e r a l e a r l y o c c u r r e n c e s of t h e w o r d it a p p e a r s as a n a d j e c t i v e g r a d a l i s , r e f e r r i n g to t h e d a y h o u r s of t h e l i t u r g y , as o p p o s e d to nocturnalis, graduum, t h e n i g h t h o u r s . P e r h a p s t h e r e is a c o n n e c t i o n w i t h t h e canticum 120S t J e r o m e ' s t r a n s l a t i o n of t h e m y s t e r i o u s H e b r e w r u b r i c f o r P s a l m s

34, w h i c h p l a y e d a n i m p o r t a n t p a r t i n the d a y h o u r s of t h e R o m a n l i t u r g y . I n f i v e of t h e s o u r c e s of the Sextuplex the g r a d u a l c h a n t is d e s i g n e d ' R e s p ( o n s o r i u m ) G r a d ( a l e ) ' , i n s o u r c e R (see t h e e x p l a n a t i o n of t h e s i g l u m b e l o w ) s i m p l y ' G r a d ( a l e ) ' . T h i s use of ' g r a d a l e ' is u s u a l l y e x p l a i n e d as ' r e s p o n s o r y s u n g o n t h e a l t a r - s t e p s ' ( f r o m gradus = s t e p ) o r ' w h i l e t h e d e a c o n a s c e n d s t h e s t e p s of t h e a m b o to r e c i t e t h e g o s p e l ' . A n alternative e x p l a n a t i o n c o u l d , h o w e v e r , be 'day r e s p o n s o r y ' , or p e r h a p s here the w o r d h a s n o c o n n e c t i o n w i t h the p r e v i o u s m e a n i n g . I n O r d o R o m a n u s I ( c . 7 0 0 ) it is s t a t e d t h a t t h e c a n t o r ' c u m c a n t a t o r i o ' goes u p to sing the responsory (gradual) and alleluia or tract. The statement reappears in O r d i n e s I V , V , a n d V I . F r o m t h i s a s p e c i a l class of g r a d u a l has b e e n i d e n t i f i e d , c o n t a i n i n g o n l y these chants. S u c h m a n u s c r i p t s do i n d e e d s u r v i v e f r o m the n i n t h w h i c h notates i. 363; the and c e n t u r y o n w a r d , i n c l u d i n g the f a m o u s St G a l l , S t i f t s b i b l i o t h e k 359, A m a l a r i u s of M e t z (Prologus PL 105, F r a n k s c a l l a gradale. o f f i c e , eantatorium The de online antiphonarii,

g r a d u a l s , alleluias, a n d tracts i n f u l l but gives o n l y text i n c i p i t s for the other chants. 18, e d . H a n s s e n s , i n a responsoriale 1 2 4 5 ) , w r i t i n g c . 8 3 0 , says that w h a t t h e R o m a n s c a l l a eantatorium, Romans collect responsories If responsoriale a n d antiphonarius

a n t i p h o n s i n a n antiphonarius.

r e f e r o n l y to t h e chants.

to t h e m a s s , t h e n t h e a n t i p h o n s of m a s s are left u n a c c o u n t e d f o r .

I n f a c t , h o w e v e r , a l l A m a l a r i u s ' w r i t i n g s i n t h i s c o n t e x t r e f e r o n l y to o f f i c e

H u c k e a r g u e s t h e r e f o r e t h a t t h e c a n t a t o r i u m / g r a d a l e is o n c e a g a i n t h e b o o k c o n t a i n i n g chants for the day h o u r s . T h e N i g h t O f f i c e requires far m o r e chants, a n d the R o m a n s d i v i d e t h e m b e t w e e n t w o b o o k s , o n e f o r r e s p o n s o r i e s a n d the o t h e r f o r a n t i p h o n s . 'I h a v e f o l l o w e d o u r u s a g e ' , says A m a l a r i u s , ' a n d p l a c e b o t h r e s p o n s o r i e s a n d a n t i p h o n s m i x e d t o g e t h e r a c c o r d i n g to t h e o r d e r of t h e h o u r s ' . A t t h i s e a r l y s t a g e , t h e r e f o r e , the n o m e n c l a t u r e of c h a n t - b o o k s w a s s o m e w h a t f l u i d , a n d r e f e r e n c e s to ' a n t i p h o n a r i u s ' a n d ' g r a d a l e ' i n e a r l y b o o k - c a t a l o g u e s treated w i t h s o m e c a u t i o n (for e x a m p l e those edited by G u s t a v B e c k e r have to 1885: be see

n o s . 7, 8, 2 3 , 24 f o r ' g r a d a l e / g r a d a l i s ' , a n d n o s . 7, 18, 2 1 , 3 3 , 238 f o r ' a n t i p h o n a r i u s ' ) .

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A l t h o u g h b o o k s c o n t a i n i n g c h a n t t e x t s f o r m a s s p r o b a b l y e x i s t e d as e a r l y as a n y o t h e r mass b o o k s , t h e y have s u r v i v e d i n m u c h s m a l l e r n u m b e r s . T h e earliest e v i d e n c e for

t h e m t h a t w e h a v e is p o s s i b l y G e n n a d i u s ' r e f e r e n c e , a l r e a d y m e n t i o n e d ( I I I . 3 ) , to the b o o k s c o m p i l e d b y M u s a e u s of M a r s e i l l e s ( d . c . 4 6 0 ) at t h e r e q u e s t V e n e r i u s ( d . 452), of his b i s h o p t h o u g h he m a y m e a n o f f i c e r e s p o n s o r i e s , r a t h e r t h a n t h e g r a d u a l

r e s p o n s o r i e s of m a s s . A t t h e e n d of t h e s a m e c e n t u r y , h o w e v e r , a p p e a r s t h e first c o p y o f m a s s c h a n t t e x t s to h a v e s u r v i v e d , t h e i n c i p i t s c o p i e d a f t e r v a r i o u s l e s s o n s i n the palimpsest G a l l i c a n lectionary Wolfenbuttel, H e r z o g - A u g u s t - B i b l i o t h e k , Weissenburg 7 6 ( e d . D o l d 1 9 3 6 ) . D o l d w a s w i t h great d i f f i c u l t y a b l e t o d e c i p h e r s i x t e e n of t h e s e i n c i p i t s , s o m e of w h i c h c o r r e s p o n d w i t h l a t e r g r a d u a l o r o f f e r t o r y t e x t s . T h e y are t o a s s u m e t h a t t h e s e w e r e k n o w n b y h e a r t . T h e first e v i d e n c e f o r t h e e x i s t e n c e of c h a n t - b o o k s i n R o m e i t s e l f i s b y r e p o r t o n l y a n d c o n s i d e r a b l y l a t e r . A t t h e s a m e t i m e as B e d e w a s w r i t i n g h i s h i s t o r y of t h e E n g l i s h c h u r c h a n d people (completed 731), E g b e r t , a m e m b e r of t h e N o r t h u m b r i a n r o y a l f a m i l y , was o r d a i n e d deacon i n R o m e a n d was t h e n a p p o i n t e d b i s h o p of Y o r k (c.732). I n a letter of 735 w h i c h still s u r v i v e s , B e d e a d v i s e d E g b e r t to a p p l y f o r the p a l l i u m , w h i c h he o b t a i n e d ; he d i e d i n 7 6 6 . H i s b r o t h e r E a d b e r h t h a d b e c o m e k i n g i n 7 3 8 , a n d w i t h his s u p p o r t Egbert f o u n d e d a cathedral school i n Y o r k , where A l c u i n was a p u p i l a n d e v e n t u a l l y m a s t e r . I n t w o p l a c e s i n E g b e r t ' s Dialogus ecclesiasticus institutionis ( P L 8 9 , 3 7 7 - 4 5 1 ) he r e f e r s to a c h a n t b o o k ( ' l i b e r a n t i p h o n a r i u s ' ) a n d s a c r a m e n t a r y ('liber missalis') w h i c h he h a d p r e s u m a b l y seen i n R o m e . H e s h a r e d the p o p u l a r belief t h a t t h e i r a u t h o r w a s G r e g o r y t h e G r e a t a n d t h a t A u g u s t i n e h a d b r o u g h t c o p i e s to E n g l a n d o v e r a c e n t u r y e a r l i e r : '. . . b e a t u s G r e g o r i u s i n s u o a n t i p h o n a r i et m i s s a l i libro per paedagogum nostrum beatum A u g u s t i n u m transmisit 80-1 ordinatum 1958). et r e s c n p t u m . . .' ( P L 89, 4 4 0 - 2 , c i t e d G e v a e r t 1890, (747): U t uno eodemque m o d o dominicae dispensationis i n carne sacrosanctae festivitates, i n o m n i b u s ad eas rite competentibus rebus, id est i n b a p t i s m i officio, i n m i s s a r u m celebratione, i n cantilenae m o d o celebrentur, iuxta exemplar videlicet q u o d s c r i p t u m de r o m a n a habemus ecclesia. Itemque ut per g y r u m totius anni natalicia s a n c t o r u m uno e o d e m d i e , iuxta m a r t y r o l o g i u m eiusdem romanae ecclesiae, c u m sua sibi c o n v e n t i e n t i p s a l m o d i a seu cantilena venerentur. ( H a d d a n and S t u b b s 1871, 137.) T h e r e f e r e n c e to a R o m a n e x e m p l a r c o v e r s e a c h of t h e t y p e s o f b o o k m e n t i o n e d , f o r the b a p t i s m a l rites, for the mass ( p r e s u m a b l y a s a c r a m e n t a r y ) , feasts of t h e Sanctorale, and for chant. sung with The the g o v e r n e d b y t h e m a r t y r o l o g y , are to b e and A s h w o r t h may r e f e r t h e u s e r a c r o s s to a n o t h e r b o o k c o n t a i n i n g t h e c o m p l e t e c h a n t t e x t s , u n l e s s w e

C o n t e m p o r a r y e v i d e n c e is to be f o u n d i n t h e c a n o n s of t h e C o u n c i l o f C l o v e s h o e

a p p r o p r i a t e p s a l m o d y a n d c h a n t s . T h e r e is n o d e f i n i t e i m p l i c a t i o n t h a t e i t h e r t h i s c h a n t - b o o k o r t h o s e seen b y E g b e r t c o n t a i n e d n o t a t i o n . The first g r a d u a l s (or m a s s a n t i p h o n e r s ) w h i c h have c o m e d o w n to us all lack and n o t a t i o n a n d w e r e w r i t t e n i n n o r t h F r a n c e . T h e y w e r e e d i t e d b y H e s b e r t in AMS t h e m here w i t h the c u s t o m a r y sigla.

t h e i r date a n d p r o v e n a n c e h a v e b e e n s u m m a r i z e d b y F r o g e r ( 1 9 7 8 , ' C r i t i c a l ' ) . I list

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G h e n t ; late e i g h t h c e n t u r y ; the m a n u s c r i p t also III.2).

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O r d i n e s R o m a n i (see a b o v e ,

Z u r i c h , Z e n t r a l b i b l i o t h e k , R h e i n a u 30 ( R = R h e n a u g i e n s i s ) , N i v e l l e s ; 7 9 0 s ; the p a r t s of c h a n t s s u n g b y s o l o i s t s ( g r a d u a l v e r s e s , etc.) contains a F r a n k i s h - G e l a s i a n sacramentary. P a r i s , B i b l i o t h e q u e N a t i o n a l e , l a t . 12050 ( K = C o r b i e n s i s ) , a b b e y of C o r b i e ; 8 5 0 s ; t h e m a n u s c r i p t a l s o c o n t a i n s a G r e g o r i a n s a c r a m e n t a r y w i t h B e n e d i c t of A n i a n e ' s s u p p l e m e n t , c o p i e d f o r R o d r a d u s of C o r b i e . M o n z a , B a s i l i c a S . G i o v a n n i C I X ( M = M o d o e t i e n s i s ) , N E F r a n c e ; s e c o n d half of n i n t h c e n t u r y ; t h e m a n u s c r i p t has o n l y s o l o i s t s ' c h a n t s . P a r i s , B i b l i o t h e q u e N a t i o n a l e , l a t . 17436 ( C = C o m p e n d i e n s i s ) , a b b e y of S a i n t Medard at Soissons (see Froger 1980), later at t h e abbey of S a i n t - C o r n e i l l e at office C o m p i e g n e ; s e c o n d h a l f of n i n t h c e n t u r y ; t h e m a n u s c r i p t also c o n t a i n s a n are n o t g i v e n ; t h e m a n u s c r i p t a l s o

a n t i p h o n e r , t h e e a r l i e s t s u c h to h a v e s u r v i v e d ; s o m e t i m e s k n o w n as t h e ' A n t i p h o n e r of C h a r l e s t h e B a l d ' , i n t h e b e l i e f t h a t it w a s p r e s e n t e d b y C h a r l e s ( d . 8 7 7 ) to S a i n t Corneille. Paris, Bibliotheque Sainte-Genevieve 111 (S = Silvanectensis), w r i t t e n at the m o n a s t e r y of S a i n t - D e n i s f o r t h e c a t h e d r a l of S e n l i s ; 8 7 7 - 8 2 ; t h e m a n u s c r i p t a l s o contains a sacramentary. A n u m b e r o f f r a g m e n t a r y s o u r c e s also b e l o n g to t h i s e a r l y g r o u p , of w h i c h t h e m o s t i m p o r t a n t are p e r h a p s t h e L u c c a f r a g m e n t s of t h e late e i g h t h c e n t u r y , w h i c h o f f i c e c h a n t s as w e l l ( / I M S , X X I V - X X V I ; F r o g e r 1979, 'Fragment'). have

T h e m a n u s c r i p t s d o not all r e c o r d chants i n the same w a y . T h e M o n z a s o u r c e has o n l y g r a d u a l s , a l l e l u i a s , a n d t r a c t s ( a n d of these o n l y the t r a c t s are c o n s i s t e n t l y w r i t t e n o u t i n f u l l ) a n d c a n t h e r e f o r e be d e s i g n a t e d as a e a n t a t o r i u m . T h e N i v e l l e s b o o k by contrast has o n l y texts s u n g b y the c h o i r . A s already m e n t i o n e d , these m a n u s c r i p t s have no n o t a t i o n , a l t h o u g h the C o r b i e gradual has letters i n d i c a t i n g the sections mode of chants (see below, I I I . 14). They chants n e v e r t h e l e s s t e l l us a g r e a t d e a l a b o u t t h e d e v e l o p m e n t of the r e p e r t o r y . P a r t i c u l a r l y i n t e r e s t i n g are t h o s e where they differ f r o m one another or lack MLS). In rubric 'alleluia quale volueris', r e g u l a r l y p r e s e n t i n l a t e r b o o k s . T h e r e is s p a c e h e r e to m e n t i o n o n l y a f e w of t h e s e p e c u l i a r i t i e s (see t h e e x h a u s t i v e s t u d y i n several places the M o s t s t r i k i n g is t h e d i s u n i t y i n t h e a s s i g n m e n t of a l l e l u i a s to t h e v a r i o u s m a s s e s . B l a n d i n i e n s i s s i m p l y gives the (R)

m e a n i n g t h a t t h e s i n g e r m u s t at t h i s p o i n t d i p i n t o a p o o l of s u i t a b l e a l l e l u i a s g a t h e r e d e l s e w h e r e ( i n t h i s case at t h e e n d of t h e m a n u s c r i p t ) . T h i s h a p p e n s i n E a s t e r w e e k , f o r t h e S u n d a y s a f t e r E a s t e r , W h i t s u n w e e k , a n d t h e S u n d a y s after W h i t s u n t i d e . T h e r e is t h e g r e a t e s t d i s p a r i t y b e t w e e n l a t e r b o o k s i n t h e i r a s s i g n m e n t of a l l e l u i a s to t h e s e o c c a s i o n s . T h e g r a d u a l s of t h e s u m m e r S u n d a y s also d i s p l a y p e c u l i a r i t i e s of o r d e r i n g , w h i c h has g i v e n r i s e t o e x t e n s i v e d i s c u s s i o n (see H e s b e r t 1 9 3 2 - 3 ; P a l M u s 14, 44; Chavasse 1952; R a y m o n d L e R o u x 1962; Chavasse 1984). 124

T h e R o m a n m a s s a n t i p h o n e r s k n o w n to t h e F r a n k s h a d a n u m b e r of f e a t u r e s w h i c h w e r e a l t e r e d b y t h e m , b u t w h i c h c a n be f o u n d i n s o m e l a t e r G r e g o r i a n s o u r c e s . T h u s M h a s t h e R o m a n o f f e r t o r y f o r S t M i c h a e l In conspectu angelus. Huglo and identified their presence hand, all Frankish books angelorum i n s t e a d of t h e Roman mostly from St Gorgonius F r a n k i s h Stetit characteristics central Italy. On the other include a mass for (9 S e p t e m b e r ) , a n o n - R o m a n c u s t o m i n i t i a t e d w h e n h i s r e l i c s w e r e b r o u g h t to M e t z (751-68). ( 1 9 5 4 , ' V i e u x - r o m a i n ' ) d r e w u p a l i s t of i n several later sources,

b y B i s h o p C h r o d e g a n g d u r i n g t h e r e i g n of P i p p i n t h e S h o r t

It m a y b e a s k e d h o w t h e F r a n k s , s e e m i n g l y a r d e n t l y e n g a g e d i n i m i t a t i n g R o m a n u s e as c l o s e l y as p o s s i b l e , felt at l i b e r t y to d e v i a t e o c c a s i o n a l l y f r o m w h a t t h e y f o u n d i n R o m a n b o o k s . T h e a n s w e r m i g h t b e a l o n g t h e l i n e s of t h e a p o l o g i a p r e s e n t e d b y B e n e d i c t of A n i a n e , p r e f a c i n g h i s s u p p l e m e n t to t h e G r e g o r i a n s a c r a m e n t a r y : \ . . t h e r e are o t h e r l i t u r g i c a l m a t e r i a l s w h i c h H o l y C h u r c h f i n d s i t s e l f o b l i g e d t o use b u t w h i c h the aforesaid F a t h e r [ G r e g o r y ] o m i t t e d because he k n e w they h a d already b e e n p r o d u c e d b y o t h e r p e o p l e . . .'

( i i i ) Notated

Graduals

T h e e a r l i e s t n o t a t e d g r a d u a l s to h a v e s u r v i v e d are f r o m t h e e n d of t h e n i n t h c e n t u r y : C h a r t r e s , B i b l i o t h e q u e M u n i c i p a l e 47 ( d e s t r o y e d i n 1 9 4 4 ; from Brittany. St G a l l , S t i f t s b i b l i o t h e k 359 ( P a l M u s 11/2), f r o m S t G a l l ; t h e m a n u s c r i p t is a c a n t a t o r i u m , w i t h soloist's chants o n l y . L a o n , B i b l i o t h e q u e M u n i c i p a l e 2 3 9 ( P a l M u s 10), f r o m L a o n . E q u a l l y early fragments h a v e also s u r v i v e d f r o m t h e s e areas ( t h a t i s , B r i t t a n y , G e r m a n y , a n d n o r t h F r a n c e ) , b u t the e a r l i e s t s o u r c e s f r o m o t h e r areas are s o m e w h a t l a t e r . E n g l a n d , as m i g h t be e x p e c t e d a f t e r t h e d e v a s t a t i o n w r e a k e d b y t h e D a n i s h i n v a s i o n s of t h e e i g h t h a n d n i n t h c e n t u r i e s , is r e p r e s e n t e d first i n t h e late tenth are of c e n t u r y . T h e e a r l i e s t s u r v i v i n g g r a d u a l s f r o m A q u i t a i n e are f r o m t h e e a r l y e l e v e n t h c e n t u r y , b u t t h r e e t r o p e r s of the t e n t h c e n t u r y s u r v i v e . N o t a t e d I t a l i a n s o u r c e s p r a c t i c a l l y non-existent before the e l e v e n t h c e n t u r y . B y t h e t i m e of t h e a p p e a r a n c e sources b e i n g the f o l l o w i n g : 1. t h e c h o i c e of a l l e l u i a s f o r t h e E a s t e r a n d W h i t s u n t i d e s e r i e s ; 2 . t h e c h o i c e of p s a l m verses f o r i n t r o i t a n d o f f e r t o r y ; 3 . t h e c h o i c e of c h a n t s f o r s a i n t s ' d a y s ; t h e s e c o u l d b e t a k e n f r o m t h e c o m m o n p o o l , i n w h i c h case d i f f e r e n t s o u r c e s m i g h t m a k e a d i f f e r e n t c h o i c e , o r ( r a r e l y ) newly composed. I n t h e s o u r c e s of the Sextuplex t h e r e is n o c o m m o n p o o l , e x c e p t f o r f o u r m a s s e s f o r a ' p o n t i f e x ' i n K a n d S o n l y . N o r is t h e r e o n e i n m a n y o t h e r e a r l y s o u r c e s . T h e r e is of t h e first notated graduals, the assignment p a r t i c u l a r c h a n t s to p a r t i c u l a r m a s s e s w a s f a i r l y s t a b l e , t h e m a i n d i f f e r e n c e s between f a c s i m i l e P a l M u s 11),

s i m p l y a c r o s s - r e f e r e n c e f r o m t h e o n e s a i n t to a n o t h e r w h e r e t h e a p p r o p r i a t e m a s s is to be f o u n d . A s the S a n c t o r a l e b e c a m e m o r e heavily p o p u l a t e d , h o w e v e r , the C o m m u n e S a n c t o r u m s e c t i o n at t h e e n d of t h e g r a d u a l . Another way in which graduals might d i f f e r is i n t h e i r i n t e r w e a v i n g of the T e m p o r a l e a n d S a n c t o r a l e . F r o m l a t e r s e r v i c e - b o o k s w e are u s e d to t h e p l a c i n g of a l l s a i n t s ' feasts e x c e p t t h o s e i m m e d i a t e l y f o l l o w i n g C h r i s t m a s i n a s e c t i o n of t h e i r o w n . T h e R o m a n p a t t e r n as f o u n d i n , f o r e x a m p l e , R o m e , B i b l i o t e c a A p o s t o l i c a V a t i c a n a , V a t . l a t . 5 3 1 9 ( M M M A 2 ) , is g i v e n i n T a b l e T a b l e 111.4.1 Interlocking Temporale Advent Sundays Advent Sunday 3 E m b e r Week Christmas St Stephen (26 D e c . ) to St Silvester (31 S u n d a y after C h r i s t m a s Epiphany S u n d a y s after E p i p h a n y St F e l i x (14 Jan.) to A n n u n c i a t i o n of the B V M (25 M a r . ) Septuagesima to the 4th S u n d a y after Easter S S T i b u r t i u s and Valerianus (14 A p r . ) to St P u d e n t i a n a (19 M a y ) Ascension S u n d a y after A s c e n s i o n St U r b a n (25 M a y ) W h i t S u n d a y and W h i t s u n week S S M a r c e l l i n u s and Peter (2 June) to S S J o h n and P a u l (26 June) S u n d a y s 1-4 after W h i t s u n S S Peter and Paul (29 June) to Octave of S S Peter and P a u l (6 J u l y ) S u n d a y s 5 - 9 after W h i t s u n T h e Seven Brothers (10 July) to S S F e l i x and A d a u c t u s (30 A u g . ) S u n d a y s 10-15 after W h i t s u n St H a d r i a n (8 Sept.) to St M a t t h e w (21 Sept.) E m b e r Week S S Cosmas and D a m i a n (27 Sept.) to St M e n n a s (11 N o v . ) S u n d a y s 1624 after W h i t s u n St C e c i l i a (22 N o v . ) to St A n d r e w (30 N o v . ) Dec.) 1-2 St L u c y (13 D e c . ) Temporale and III.4.1. in Roman use frequent c r o s s - r e f e r r i n g b e c a m e i n c o n v e n i e n t , a n d t h e c h a n t s w e r e e v e n t u a l l y t r a n s f e r r e d to a

Sanctorale

Sanctorale

A s t h e s o u r c e s of t h e Sextuplex

and early notated g r a d u a l s s h o w , the F r a n k s altered 111.4.2. period have been amalgamated with the

t h e d i s p o s i t i o n of t h e p o s t - W h i t s u n t i d e p e r i o d , as f o r i n s t a n c e i n S t G a l l 339 ( c o n t e n t s listed in Wagner I), displayed in T a b l e Thus the saints of the Epiphany

T e m p o r a l e , n o t a c o m m o n p r o c e d u r e , b u t also not a c o n f u s i n g o n e , f o r t h e S u n d a y s d o n o t d i f f e r m u c h i n date f r o m year to y e a r . O n t h e o t h e r h a n d , t h e after W h i t s u n t i d e together. i n the complete S a n c t o r a l e f r o m J u n e to N o v e m b e r a p p e a r s as o n e b l o c k , f o l l o w e d b y a l l t h e S u n d a y s It w a s a l o g i c a l s t e p to r e m o v e t h e w i n t e r s a i n t s f r o m t h e first p a r t of the g r a d u a l as w e l l , so t h a t o n l y t h o s e at the e n d of D e c e m b e r r e m a i n e d . T h e a r r a n g e m e n t thirteenth-century Sarisburiense) manuscript London, III.4.3. British Library, A d d . 12194 is g i v e n i n T a b l e (Graduale

O f t h e k y r i a l e a n d s e q u e n t i a r y m o r e w i l l b e s a i d b e l o w . G r a d u a l s also f r e q u e n t l y T a b l e 111.4.2. Disposition Temporale A d v e n t Sundays Advent Sunday 3 E m b e r Week Christmas St Stephen (26 D e c . ) to St Silvester (31 S u n d a y after C h r i s t m a s Epiphany 1st S u n d a y after E p i p h a n y St F e l i x (14 2 n d S u n d a y after E p i p h a n y St M a r c c l l u s (16 Jan.) to St A g n e s (21 3rd S u n d a y after E p i p h a n y St Vincent (22 Jan.) to A n n u n c i a t i o n of the B V M (25 M a r . ) Septuagesima to the 4th Sunday after Easter S S T i b u r t i u s and V a l e n a n u s (14 A p r . ) to St P u d e n t i a n a or Potentiana (19 M a y ) Ascension S u n d a y after A s c e n s i o n St U r b a n (25 M a y ) W h i t S u n d a y and W h i t s u n week S S M a r c e l l i n u s and Peter (2 June) to St A n d r e w (30 N o v . ) T r i n i t y Sunday Sundays 1-24 after the Octave of W h i t Sunday
w

of Temporale

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in Frankish

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Sanctorale 1-2 St L u c y (13 Dec.)

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O t h e r material

St Stephen (26 D e c . ) to St Silvester (31 D e c ) S u n d a y after C h r i s t m a s to the S u n d a y before A d v e n t D e d i c a t i o n of the C h u r c h St A n d r e w (30 N o v ) to St L i n u s (26 N o v . ) C o m m u n e sanctorum R e q u i e m mass V o t i v e masses K y r i a l e a n d sequentiary

c o n t a i n processional chants, w h i c h , t h o u g h not part of the mass itself, were often the p a r t o f t h e l i t u r g y w h i c h i m m e d i a t e l y p r e c e d e d m a s s (see 1 . 7 ) . N o t a l l b o o k s f o l l o w the Sarum pattern exactly, of c o u r s e . Paris books, for example, put even the C h r i s t m a s s a i n t s ' feasts i n t h e S a n c t o r a l e . S o m e t i m e s t h e y e a r b e g a n w i t h a s a i n t o t h e r t h a n S t A n d r e w . G r a d u a l s w h i c h also i n c l u d e t r o p e s , o r d i n a r y of m a s s m e l o d i e s , a n d s e q u e n c e s h a v e d i f f e r e n t w a y s of d e p l o y i n g t h e m a t e r i a l : w h i l e m o s t p l a c e t h e m i n separate sections (or have a separate b o o k f o r t h e m ) , several I t a l i a n b o o k s have t h e m a m o n g the p r o p e r chants f o r particular masses. T h e brief d e s c r i p t i o n s b y E m e r s o n ( ' S o u r c e s , M S , I I ' , NG) i n d i c a t e m a n y of these d i f f e r e n c e s . A p a r t f r o m d i f f e r e n c e s o f o r g a n i z a t i o n o r c h o i c e o f c h a n t s , g r a d u a l s also d i f f e r f r o m o n e a n o t h e r i n t h e i r m u s i c a l r e a d i n g s , b e c a u s e of o r a l t r a n s m i s s i o n a n d t h e f r e e d o m of l o c a l c a n t o r s t o n o t a t e t h e m e l o d i e s as t h e y u n d e r s t o o d t h e m , r a t h e r t h a n s l a v i s h l y f o l l o w i n g a n e x e m p l a r . T h e e n d r e s u l t is a h o s t of d i f f e r e n c e s b e t w e e n s o u r c e s . t r i v i a l as f a r as t h e b a s i c s h a p e a n d c h a r a c t e r o f t h e m e l o d y i s c o n c e r n e d . A little over t h i r t y years ago the m o n k s of S o l e s m e s began p u b l i c a t i o n of m a t e r i a l f o r a n e w c r i t i c a l e d i t i o n o f t h e g r a d u a l w i t h G r e g o r i a n m e l o d i e s , u n d e r t h e t i t l e Le Graduel rornain. A l i s t o f n e a r l y 7 5 0 s o u r c e s a p p e a r e d first, w i t h b r i e f d e s c r i p t i o n s . T h e n the results were p u b l i s h e d of several c o m p a r i s o n s of the sources w i t h one another, c a r r i e d o u t b y i s o l a t i n g places w h e r e the m e l o d i c readings t e n d e d to s h o w d i s p a r i t y . B y c o u n t i n g t h e n u m b e r of a g r e e m e n t s b e t w e e n s o u r c e s at t h e s e ' l i e u x v a r i a n t s ' it w a s p o s s i b l e t o g r o u p t h e s o u r c e s i n t o f a m i l i e s . ( F o r f u r t h e r w o r k o f t h i s k i n d , see H i l e y 1 9 8 0 - 1 a n d 1 9 8 6 , T h u r s t a n ' . ) O n e of t h e m o s t s t r i k i n g r e s u l t s t o emerge f r o m the Solesmes investigation was the remarkable u n a n i m i t y between Some are v e r y o b v i o u s d i f f e r e n c e s , s u c h as a q u i t e d i f f e r e n t m e l o d y ; t h e vast m a j o r i t y a r e

G e r m a n sources, I t a l y (see b e l o w ,

c o m p a r e d w i t h the relatively f r a g m e n t e d IX.3).

picture for France

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A s c a n b e s e e n e v e n f r o m the f e w m a n u s c r i p t s of t h e Sex tuple x, also g i v e n i n m a n y e a r l y s a c r a m e n t a r i e s . h o o k u n t i l t h e e n d of t h e M i d d l e A g e s . A s s o u r c e s of m a s s c h a n t s ,

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c h a n t t e x t s w e r e o f t e n c o u p l e d to s a c r a m e n t a r i e s o r l e c t i o n a r i e s . C h a n t i n c i p i t s w e r e graduals and c a n t a t o r i a w e r e l a t e r j o i n e d b y n o t a t e d m i s s a l s , b u t p e r s i s t e d as i n d e p e n d e n t t y p e s of

111.5.

A N T I P H O N E R S

( O F F I C E

A N T I P H O N E R S )

(i) T h e Earliest A n t i p h o n e r s (ii) T y p e s of M a n u s c r i p t and C a l e n d r i c O r g a n i z a t i o n (iii) C o m p a r i s o n of Sources S t a b l e i n , ' A n t i p h o n a r ' , MGG; NG; H u g l o , ' A n t i p h o n e r ' , NG) E m e r s o n , 'Sources, M S , I F ,

A n d r e w H u g h e s 1982, 161-97, 2 3 8 - 9 , 2 4 2 - 4 .

F A C S I M I L E S :

B e r l i n , Staatsbibliothek PreuBischer K u l t u r b e s i t z , M u s . m s . 40047: M o l l e r 1990 C a m b r i d g e U n i v e r s i t y L i b r a r y , M m . 2 . 9 : AS D u r h a m , C a t h e d r a l C h a p t e r L i b r a r y B . I I I . 11: F r e r e 1923 (see also CAO 1) G r a z , U n i v e r s i t a t s b i b l i o t h e k 211: Codex Albensis L o n d o n , B r i t i s h L i b r a r y , A d d . 30850: Antiphonale Silense (see also CAO 2) L u c c a , B i b l i o t e c a Capitolare 601: P a l M u s 9 Passau, p r i n t e d antiphoner of 1519: Antiphonale Pataviense St G a l l , S t i f t s b i b l i o t h e k 3 9 0 - 3 9 1 : P a l M u s II/l V i e n n a , N a t i o n a l b i b l i o t h e k , ser. nova 2700 ( w i t h a g r a d u a l ) : Antiphonar von St. Peter Worcester, C a t h e d r a l Chapter L i b r a r y F . 160: P a l M u s 12 (only the a n t i p h o n e r , processional, and h y m n a l ) private collection, the ' M o n t - R e n a u d m a n u s c r i p t ' ( w i t h a g r a d u a l ) : P a l M u s 16
E D I T I O N S : AR, AM

T h e text editions in CAO 1 - 2 : C A O 1: manuscripts f o l l o w i n g the secular or R o m a n cursus B = B a m b e r g , Staatsbibliothek, l i t . 23 C = Paris, B i b l i o t h e q u e Nationale, lat. 17436 G E M V CAO H R D F S L = D u r h a m , Cathedral Chapter L i b r a r y B . I I I . 11 (see also facs.) = Ivrea, B i b l i o t e c a Capitolare C V I = M o n z a , Basilica S. G i o v a n n i C . 12/75 = V e r o n a , Biblioteca Capitolare X C V I I I 2 : manuscripts f o l l o w i n g the monastic cursus = St G a l l , Stiftsbibliothek 3 9 0 - 3 9 1 (see also facs.) = Z u r i c h , Z e n t r a l b i b l i o t h e k , R h e i n a u 28 = Paris, B i b l i o t h e q u e Nationale, lat. 17296 = Paris, B i b l i o t h e q u e Nationale, lat. 12584 = L o n d o n , B r i t i s h L i b r a r y , A d d . 30850 (see also facs.) = Benevento, A r c h i v i o Capitolare 21

C A O 3 - 4 : e d i t i o n of each i n d i v i d u a l chant text C A O 5 - 6 : repertorial c o m p a r i s o n of 800 sources (see also Ottosen (i) The Earliest Antiphoners 1986)

T h e w o r d a n t i p h o n e r is u s u a l l y u s e d to m e a n t h e b o o k c o n t a i n i n g t h e c h a n t s o f t h e o f f i c e h o u r s . T h i s d i s t i n c t i o n is a r e l a t i v e l y r e c e n t o n e , h o w e v e r , f o r u p to t h e n i n t h c e n t u r y t h e w o r d w a s r e g u l a r l y u s e d to m e a n a n y k i n d of c h a n t - b o o k . I f A m a l a r i u s b e u n d e r s t o o d c o r r e c t l y (see t h e passage d i s c u s s e d a b o v e , 111. 4), t h e R o m a n s m a y h a v e gathered b o t h office a n d mass antiphons together office a n d mass responsories 482) together ( ' A n t i p h o n e r ' , NG, from mass chants. with in an 'antiphonarius', and both As Huglo points out chants in a 'responsoriale'.

the R o m a n s m a y thus have h a d mass a n d office the ' a n t i p h o n a r i i ' w h i c h the name i n the appear early

a m a l g a m a t e d i n o n e b o o k , w h e r e a s F r a n k i s h p r a c t i c e w a s a l w a y s to s e p a r a t e o f f i c e F o r these reasons, antiphoners. in library centuries, c a t a l o g u e s of t h e e i g h t h a n d n i n t h c e n t u r i e s ( c i t e d b y H u g l o ) c a n n o t b e i d e n t i f i e d definitely office Whatever ' a n t i p h o n e r ' is u s e d h e r e i n its c o m m o n e s t m o d e r n s e n s e , t o m e a n a b o o k w i t h a l l t h e office chants. E a r l y b o o k s c o n t a i n i n g office chant texts have s u r v i v e d i n v e r y s m a l l n u m b e r s c o m p a r e d w i t h those c o n t a i n i n g mass chant texts. T h e texts c o p i e d b y W i n i t h a r i n St G a l l , S t i f t s b i b l i o t h e k 1399 'Fragment') i n t h e late e i g h t h c e n t u r y ( e d . D o l d 1940) a n d the ed. L u c c a f r a g m e n t of t h e late e i g h t h c e n t u r y ( L u c c a , B i b l i o t e c a C a p i t o l a r e 4 9 0 : F r o g e r 1979,

are the e a r l i e s t s u r v i v i n g d o c u m e n t s . T h e y are f o l l o w e d 1), a n d a n A q u i t a n i a n m a n u s c r i p t of t h e

m o r e t h a n h a l f a c e n t u r y l a t e r b y t h e s o - c a l l e d ' A n t i p h o n e r of C h a r l e s t h e B a l d ' , w h i c h also c o n t a i n s a g r a d u a l ( e d . H e s b e r t , CAO same t y p e , A l b i , B i b l i o t h e q u e M u n i c i p a l e 44. T h e s e sources were not notated. T h e earliest a n t i p h o n e r s w i t h notation are: t h e ' M o n t - R e n a u d m a n u s c r i p t ' ( i n a p r i v a t e c o l l e c t i o n ) , a b b e y of S a i n t - D e n i s , text first h a l f of t e n t h c e n t u r y , n e u m e s a d d e d t e n t h - e l e v e n t h c e n t u r y ( P a l M u s 16). 2 ; f a c s . P a l M u s 11/1). S t G a l l , S t i f t s b i b l i o t h e k 3 9 0 - 3 9 1 , S t G a l l , c o p i e d b y t h e m o n k H a r t k e r , e n d of t e n t h c e n t u r y ( t e x t e d . H e s b e r t , CAO O x f o r d , B o d l e i a n L i b r a r y , A u c t . F . 4. 26, a f r a g m e n t w i t h B r e t o n n o t a t i o n , tenth c e n t u r y ( f a c s . N i c h o l s o n 1913, p i . I X ) . The ordine antiphoner which antiphonarii A m a l a r i u s of M e t z c o m p i l e d , d e s c r i b e d i n h i s Liber de ( r . 8 3 0 ) , is l o s t . It s e e m s to h a v e b e e n a p r i v a t e i n i t i a t i v e w i t h o u t

l o n g - l a s t i n g c o n s e q u e n c e s , f o r n o s u r v i v i n g a n t i p h o n e r r e f l e c t s t h e o r d e r i n g of p i e c e s s u g g e s t e d b y A m a l a r i u s (see H e s b e r t 1980, ' A m a l a r ' ) . T h e a c t u a l M e t z r e p e r t o r y c a n nevertheless Bibliotheque manuscripts. N o t a t e d s o u r c e s f r o m o t h e r p a r t s of E u r o p e h a v e s u r v i v e d o n l y f r o m a l a t e r p e r i o d . Two lists of chants survive in tenth-century sources from Limoges (Paris, are B i b l i o t h e q u e N a t i o n a l e , lat. 1085 and 1240); but notated A q u i t a n i a n sources b e r e c o n s t r u c t e d i n its e n t i r e t y f r o m t h e n i n t h - c e n t u r y t o n a r y Municipale 351 (ed. Lipphardt 1965), as w e l l as f r o m l a t e r Metz, Metz

l a c k i n g before the eleventh c e n t u r y . T o l e d o , A r c h i v o C a p i t u l a r 44. 1 was w r i t t e n i n s o u t h F r a n c e i n t h e e l e v e n t h t o t w e l f t h c e n t u r y a n d t a k e n to S p a i n at a t i m e w h e n Roman use was replacing M o z a r a b i c . O t h e r early S p a n i s h manuscripts are also w i t n e s s to t h i s c h a n g e : L o n d o n , B r i t i s h M u s e u m , A d d . 3 0 8 4 8 a n d 3 0 8 5 0 w e r e b o t h w r i t t e n at S a n D o m i n g o d e S i l o s i n t h e late e l e v e n t h c e n t u r y ( t h e f o r m e r is a n o t e d b r e v i a r y ; t h e t e x t of t h e l a t t e r e d . H e s b e r t , CAO The earliest surviving source from south M o n t e c a s s i n o , A r c h i v i o della B a d i a 420. 2 , a n d f a c s . Antiphonale is likewise a noted Silense). breviary, eleventh 1), Italy

N o r t h I t a l i a n a n t i p h o n e r s of t h e

c e n t u r y i n c l u d e M o n z a , B a s i l i c a S . G i o v a n n i C . 12/75

( t e x t e d . H e s b e r t , CAO

M o n z a C . 15/79, a n d O x f o r d , B o d l e i a n L i b r a r y , M i s c . l i t . 3 6 6 .

(ii) Types of Manuscript

and

Calendric

Organization

A l t h o u g h t h e a m a l g a m a t i o n of o f f i c e a n d m a s s c h a n t s i n a g r a d u a l - a n t i p h o n e r is v e r y rare, the presence of b o t h g r a d u a l a n d a n t i p h o n e r b e t w e e n t h e s a m e c o v e r s of a m e d i e v a l m a n u s c r i p t is n o t u n k n o w n . T h e c o m p l e m e n t i n g of c h a n t s b y o f f i c e l e s s o n s a n d o t h e r t e x t s p r o d u c e d t h e b r e v i a r y , w h i c h is d i s c u s s e d b e l o w . A t t h e s a m e t i m e some parts of the office c h a n t repertory were copied separately: i n psalters and great h y m n a l s , b o t h also d i s c u s s e d b e l o w . A n o t h e r category w i t h i n the g e n e r a l a n t i p h o n e r class is t h e d i u r n a l , w h e r e o n l y t h e c h a n t s f o r t h e d a y h o u r s are r e c o r d e d . T h e b u l k o f t h e m a t e r i a l to b e r e c o r d e d p r o m p t e d s e v e r a l s u c h s u b d i v i s i o n s a n d s u b s p e c i e s of b o o k . S i n c e s u c h b o o k s o f t e n i n c l u d e d not o n l y chants b u t also lessons a n d p r a y e r s , t w o e x a m p l e s are d i s c u s s e d b e l o w i n t h e s e c t i o n o n b r e v i a r i e s ( I I I . 1 0 ) . T h e a r r a n g e m e n t of T e m p o r a l e a n d S a n c t o r a l e i n a n t i p h o n e r s is u s u a l l y d i f f e r e n t from that that the of graduals. had The responsories been assembled and antiphons for the Sundays Benedictus after and W h i t s u n t i d e are u s u a l l y c o p i e d s e p a r a t e l y f r o m e a c h o t h e r , p e r h a p s r e f l e c t i n g t h e fact chants once in different books. M a g n i f i c a t a n t i p h o n s f o r m another g r o u p sometimes c o p i e d separately. T h e tones for p s a l m s a n d c a n t i c l e s , b e i n g so u n i v e r s a l l y f a m i l i a r , are r a r e l y f o u n d , at a n y r a t e i n e a r l i e r a n t i p h o n e r s , a n d are u s u a l l y p l a c e d i n a s u p p l e m e n t at t h e e n d of t h e b o o k . T h e y are l i k e l y to a p p e a r i n c l o s e p r o x i m i t y t o a t o n a r y , a n d are t h u s o c c a s i o n a l l y g i v e n i n b o o k s w h i c h o t h e r w i s e c o n t a i n n o o f f i c e c h a n t s , s u c h as t h e S a i n t - M a r t i a l tropers P a r i s , B i b l i o t h e q u e N a t i o n a l e , lat. 909 a n d 1121. T w o d i f f e r e n t a r r a n g e m e n t s of t h e c h a n t s m a y be s e e n i n T a b l e I I I . 5 . 1 . T h e t w o s o u r c e s r e p r e s e n t e d a r e : H a r t k e r ' s a n t i p h o n e r , S t G a l l , S t i f t s b i b l i o t h e k 3 9 0 - 3 9 1 , of t h e c l o s i n g y e a r s of t h e t e n t h c e n t u r y ( f a c s i m i l e , P a l M u s 11/2; t e x t e d i t i o n , CAO and L u c c a , Biblioteca Capitolare 601, manuscript of the f r o m t h e a b b e y o f S t P e t e r at P o z z u o l i , (facsimile, P a l M u s 9). Both books early t w e l f t h century 2), a are

m o n a s t i c , t h o u g h that is n o t of r e l e v a n c e to t h e w a y t h e y e a r is o r g a n i z e d .

(Both

e d i t i o n s h a v e t a b l e s s e t t i n g o u t t h e o r d e r i n w h i c h t h e c h a n t s a p p e a r : P a l M u s 11/2, p p . 6 1 * - 6 2 * ; P a l M u s 9, p p . 1 6 * - 2 0 * , w h i c h also g i v e s t h e n u m b e r o f c h a n t s f o r e a c h o c c a s i o n . ) It w i l l be n o t i c e d t h a t n e i t h e r m a n u s c r i p t c o n t a i n s a p s a l t e r o r a h y m n a l . N o t e v e n i n c i p i t s f o r h y m n s are g i v e n .

306

///. Liturgical

Books

and

Plainchant antiphoners

Sources

T a b l e II 1.5.1. Deployment

of material

in two

St G a l l , S t i f t s b i b l i o t h e k 3 9 0 - 3 9 1 Advent Sundays 1-2 St L u c y (13 D e c . ) Advent Sunday 3 Advent Sunday 4 C h r i s t m a s E v e to the 5th S u n d a y after Epiphany

L u c c a , Biblioteca C a p i t o l a r e 601 A d v e n t Sundays 1-3

responsories for the weekly office a n t i p h o n s and short responsories for the weekly office Trinity St Sebastian (20 Jan.) to A n n u n c i a t i o n of the B V M (25 M a r . ) Septuagesima to Easter week antiphons for S u n d a y s after Easter S S P h i l i p and James (1 M a y ) responsories for S u n d a y s after Easter C o m m u n e S a n c t o r u m i n Paschaltide F i n d i n g of the C r o s s (3 M a y ) E x a l t a t i o n of the C r o s s (14 S e p t . ) S S A l e x a n d e r , E v e n t i u s , and T h e o d u l u s (3 M a y ) V i g i l of A s c e n s i o n t h r o u g h W h i t s u n week St J o h n Baptist (24 J u n e ) to St A n d r e w (30 N o v . ) Commune Sanctorum Office of the D e a d responsories and M a g n i f i c a t antiphons for the s u m m e r S u n d a y s , a g r o u p of responsories b e i n g f o l l o w e d by a g r o u p of M a g n i f i c a t antiphons ferial a n t i p h o n s for the Benedicite, B e n e d i c t u s , and M a g n i f i c a t a n t i p h o n s for the s u m m e r S u n d a y s

Advent Sunday 4 C h r i s t m a s Eve to the Octave of the E p i p h a n y 1st Sunday after the Octave of the E p i p h a n y and subsequent ferias: these chants are for Sundays and ferias t h r o u g h o u t the year w h e n no feast-day intervenes Sundays after the Octave of the E p i p h a n y

Septuagesima to the 5th S u n d a y after Easter

V i g i l of Ascension t h r o u g h W h i t s u n week

responsories and Magnificat antiphons for the s u m m e r S u n d a y s , a g r o u p of responsories b e i n g followed by a g r o u p of Magnificat antiphons

antiphons for the s u m m e r Sundays St L u c y (13 D e c . ) to St A n d r e w (30 N o v . ) Commune Sanctorum D e d i c a t i o n of the C h u r c h Office of the D e a d

It w a s c u s t o m a r y i n a n t i p h o n e r s a n d b r e v i a r i e s t o d e s i g n a t e t h e s u m m e r manuscript follows: these O l d Testament books, or histories (historia),

Sundays as

a f t e r t h e b i b l i c a l b o o k w h i c h p r o v i d e d t h e l e s s o n s of t h e N i g h t O f f i c e . I n t h e L u c c a are assigned

t h e B o o k o f K i n g s , f o r t h e first S u n d a y a f t e r W h i t s u n t o first S u n d a y i n A u g u s t the B o o k of W i s d o m , f o r A u g u s t t h e B o o k o f J o b , f o r t h e first h a l f of S e p t e m b e r t h e B o o k s of T o b i t , J u d i t h , a n d E s t h e r , f o r t h e rest o f the B o o k of M a c c a b e e s , In any antiphoner 1 i g i l of Ascension first Ascension elsewhere) versicle (incipit Day Vespers: antiphon for psalms; responsory (incipit only); for October of p r o p e r c h a n t s naturally varies greatly from the B o o k s of t h e P r o p h e t s , for N o v e m b e r the number o c c a s i o n to o c c a s i o n . T h e p r o v i s i o n for A s c e n s i o n t i d e i n the L u c c a c o d e x is t y p i c a l : L a u d s : B e n e d i c t u s a n t i p h o n (text i n c i p i t o n l y : a l r e a d y a v a i l a b l e September

only); Magnificat antiphon N i g h t O f f i c e : i n v i t a t o r y ; s i x a n t i p h o n s , v e r s i c l e , a n d f o u r r e s p o n s o r i e s f o r t h e first N o c t u r n ; the same for the second N o c t u r n (versicle incipit only); antiphon, versicle (incipit o n l y ) , a n d four responsories f o r the t h i r d N o c t u r n L a u d s : five a n t i p h o n s ; s h o r t r e s p o n s o r y ; v e r s i c l e ; B e n e d i c t u s a n t i p h o n L i t t l e H o u r s : versicles (incipits only) for T e r c e , Magnificat antiphon Friday after Ascension Nocturns L a u d s : antiphon for psalms; Benedictus antiphon (incipit only) L i t t l e H o u r s : a n t i p h o n for P r i m e ; versicles (incipits only) f o r T e r c e , None Sunday after Ascension Day L a u d s : Benedictus antiphon second Vespers: Magnificat antiphon U n d e r s t a n d i n g w h a t has been o m i t t e d a n d has to b e d r a w n f r o m t h e c o m m o n p o o l , a n d w h e r e t o find i t , p o s e s c o n s i d e r a b l e p r o b l e m s t o t h e u n i n i t i a t e d . Sext, a n d Day N i g h t O f f i c e : I n v i t a t o r y ; one a n t i p h o n ( i n c i p i t o n l y ) f o r e a c h o f t h e first a n d s e c o n d Sext, a n d N o n e second Vespers: antiphon (incipit o n l y ) ; short responsory; versicle (incipit o n l y ) ;

( i i i ) Comparison

of

Sources

A s i n t h e case o f t h e g r a d u a l , m u c h t i m e a n d e f f o r t h a s b e e n d e v o t e d t o s t u d y i n g t h e relationships between sources, b y c o m p a r i n g their selection of c h a n t s a n d (to a lesser e x t e n t so far) t h e v a r i a n t r e a d i n g s of t h e i r t e x t s a n d m e l o d i e s . A s a g l a n c e at t h e t w e l v e m a n u s c r i p t s w h o s e t e x t s w e r e e d i t e d b y H e s b e r t (CAO 1 - 2 ) w i l l s h o w , t h e s e l e c t i o n o f

c h a n t s f o r t h e a n t i p h o n e r is m u c h less s t a b l e t h a n f o r t h e g r a d u a l , a n d t h e s a m e is t r u e of t h e i r m e l o d i e s . T h e v a r i a n c e i n t e x t s e l e c t i o n p r o m p t e d H e s b e r t t o c a r r y o u t a massive survey of 800' s o u r c e s (including breviaries as well as antiphoners), c o m p a r i n g t h e i r r e s p o n s o r i e s f o r t h e f o u r S u n d a y s o f A d v e n t (CAO 5 a n d 6 ; see a l s o O t t o s e n 1986). S i m i l a r repertory c o m p a r i s o n s have been made b y R a y m o n d L e R o u x f o r t h e a n t i p h o n s of t h e N i g h t O f f i c e a n d L a u d s at C h r i s t m a s a n d 1 J a n u a r y r e s p o n s o r i e s of E p i p h a n y t i d e ( 1 9 6 3 ) , a n d t h e r e s p o n s o r i e s of t h e T r i d u u m (1961), Sacrum

a n d E a s t e r ( 1 9 7 9 ) . T h e s e s u r v e y s h a v e p r o v e d s t r i k i n g l y c a p a b l e of i s o l a t i n g f a m i l i e s of r e l a t e d s o u r c e s : t h o s e b e l o n g i n g to t h e s a m e c h u r c h o r d i o c e s e , t h o s e l i n k e d b y m o n a s t i c r e f o r m m o v e m e n t s , t h o s e of t h e r e l i g i o u s o r d e r s , a n d so o n ( a p a r t f r o m t h e l e n g t h y d i s c u s s i o n s i n CAO 5 a n d 6, see also H e s b e r t 1 9 8 0 , ' A n t i p h o n a i r e d e l a C u r i e ' , 1980, ' A n t i p h o n a i r e d ' A m a l a r ' , 1980, ' S a r u m ' , 1982, ' A n t i p h o n a i r e s monastiques was made by i n s u l a i r e s ' , 1982, ' M a r i n e s de P a q u e s ' , a n d R a y m o n d L e R o u x 1967). A classic s t u d y of a b r a n c h of t h e t r a d i t i o n , w i t h f a c s i m i l e s of s u r v i v i n g f r a g m e n t s , i n d i v i d u a l a n t i p h o n e r s , see O s s i n g 1 9 6 6 , L e d w o n 1 9 8 6 , M o l l e r enough, c o n s i d e r i n g the d a u n t i n g magnitude 1990.) understandably Udovich (1980) G j e r l ^ w ( 1 9 7 9 ) f o r t h e c h u r c h of N i d a r o s . ( F o r e x t e n d e d s t u d i e s o f t h e c o n t e n t s of M u s i c a l c o m p a r i s o n s have taken place o n a m u c h smaller scale, of the repertory.

p r o v i d e s p a r a l l e l t r a n s c r i p t i o n s of t h e M a g n i f i c a t a n t i p h o n s f r o m t h e f e r i a l o f f i c e i n nineteen sources. U n d e r w o o d ( 1 9 8 2 ) has c o m p a r e d v a r i a n t r e a d i n g s i n a n t i p h o n s f r o m a h a n d f u l of E n g l i s h s o u r c e s w i t h a v i e w t o e s t a b l i s h i n g t h e p a t t e r n of t h e i r i n t e r r e l a t i o n s h i p s (see a l s o H i l e y 1 9 8 6 , ' T h u r s t a n ' ) .

III.6.

P S A L T E R S ,

H Y M N A L S , L E C T I O N

C O L L E C T A R S , A R I E S

O F F I C E

(i) Psalters (ii) H y m n a l s (iii) Collectars (iv) Office L e c t i o n a r i e s T h e o t h e r b o o k s beside the a n t i p h o n e r needed for the celebration of the D i v i n e O f f i c e are t h e p s a l t e r a n d h y m n a l ( e s s e n t i a l l y f o r s i n g i n g ) , t h e c o l l e c t a r ( w h i c h contains p r a y e r s ) , a n d v a r i o u s b o o k s c o n t a i n i n g lessons: passionaries, h o m i l i a r i e s , a n d so o n . V a r i o u s d i f f e r e n t t y p e s a n d c o m b i n a t i o n s of t h e s e b o o k s are k n o w n , a s s e m b l e d t o s u i t t h e n e e d s of a p a r t i c u l a r i n s t i t u t i o n o r p e r s o n at a p a r t i c u l a r t i m e , as c o n v e n i e n c e d i c t a t e d . A l l m i g h t be g a t h e r e d together i n the b r e v i a r y . (i) Psalters Steiner, 'Psalter', A ' G ; A n d r e w H u g h e s 1982, 2 2 4 - 3 6 ; D y e r 1984. T h e L a t i n t e x t o f t h e p s a l t e r o r B o o k of P s a l m s , l i k e t h e text of t h e B i b l e as a w h o l e , was not unified for all times a n d places. I n the early centuries several Latin

6.

Psalters,

Hymnals,

Collectars,

Lectionaries

309

t r a n s l a t i o n s of t h e B i b l e o r p a r t s of it w e r e c u r r e n t , m a d e f r o m t h e G r e e k S e p t u a g i n t . T h e r e w a s n o s p e c i a l u r g e n c y to i m p o s e u n i f o r m i t y , f o r L a t i n d i d n o t r e p l a c e G r e e k as t h e l a n g u a g e o f t h e l i t u r g y u n t i l t h e late f o u r t h c e n t u r y . T h e m a i n r i t e s of W e s t e r n E u r o p e , M i l a n e s e , M o z a r a b i c , etc. h a d t h e i r o w n t r a n s l a t i o n s . A s f a r as t h e p s a l t e r is c o n c e r n e d , t h e m o s t i m p o r t a n t t y p e s are t h e f o l l o w i n g . (i) T h e R o m a n P s a l t e r . O n c e a t t r i b u t e d to S t J e r o m e , t h i s v e r s i o n is s t i l l u s e d i n

St Peter's, R o m e , a n d was u s e d b o t h i n other R o m a n c h u r c h e s a n d elsewhere i n Italy u n t i l its r e p l a c e m e n t b y t h e G a l l i c a n P s a l t e r u n d e r P i u s V ( 1 5 6 6 - 7 2 ) . A d o p t e d b y t h e Franks f r o m R o m a n exemplars, G r e g o r i a n as i n R o m a n c h a n t . (ii) T h e Testament G a l l i c a n Psalter. M a d e by St Jerome r.392 f r o m the Hexapla O l d of O r i g e n , t h i s b e c a m e v e r y p o p u l a r i n G a u l , p e r h a p s p a r t l y u n d e r t h e it w a s also t h e b a s i s of c h a n t s s u n g at m a s s , in

i n f l u e n c e of G r e g o r y of T o u r s a n d l a t e r of A l c u i n . F r o m t h e C a r o l i n g i a n p e r i o d t h i s w a s t h e t r a n s l a t i o n u s e d f o r t h e s i n g i n g of t h e o f f i c e i n m o s t c h u r c h e s o u t s i d e S p a i n and Italy. ( i i i ) T h e H e b r e w P s a l t e r . A n e w t r a n s l a t i o n m a d e b y J e r o m e c . 4 0 0 as p a r t of h i s t r a n s l a t i o n of a l l t h e b o o k s of the B i b l e f r o m t h e H e b r e w . J e r o m e ' s w o r k f o r m s t h e g r e a t e r p a r t of t h e V u l g a t e B i b l e ( ' e d i t i o v u l g a t a ' = ' c o m m o n o r p o p u l a r e d i t i o n ' ) , b u t the G a l l i c a n P s a l t e r was already too p o p u l a r to d i s p l a c e a n d was therefore i n c l u d e d i n t h e V u l g a t e i n a l l l a n d s e x c e p t I t a l y (the R o m a n P s a l t e r ) a n d S p a i n (the H e b r e w ) . I n o r d e r to a d a p t t h e b i b l i c a l p s a l t e r f o r l i t u r g i c a l u s e , v a r i o u s m e a s u r e s r e a r r a n g e d o r d e r to fit t h e w e e k l y o f f i c e c y c l e . T h e rearrangement were a

a d o p t e d . T h e p s a l m s m i g h t b e left i n t h e i r u s u a l o r d e r , o r t h e y m i g h t c o p i e d i n a w o u l d take d i f f e r e n t f o r m a c c o r d i n g to w h e t h e r t h e s e c u l a r ( o r R o m a n ) c u r s u s w a s b e i n g f o l l o w e d o r t h e m o n a s t i c c u r s u s . If t h e p s a l m s w e r e left i n t h e i r u s u a l o r d e r t h e n n o t e s i n t h e m a r g i n m i g h t i n d i c a t e o n w h i c h d a y a n d at w h i c h h o u r t h e y w e r e t o b e s u n g . M a n y p s a l t e r s c o n t a i n n o t j u s t t h e t e x t s of t h e p s a l m s b u t also t h o s e of t h e c a n t i c l e s , s u n g i n a s i m i l a r f a s h i o n at t h e s a m e s e r v i c e s . A n d t h e m o s t c o m p l e t e t y p e o f l i t u r g i c a l p s a l t e r c o n t a i n s the a n t i p h o n s w h i c h a c c o m p a n y the p s a l m s , also i n v i t a t o r i e s , a n d p e r h a p s h y m n i n c i p i t s (for w h i c h pieces a f u l l h y m n a l w o u l d be needed) a n d the short lessons a n d v e r s i c l e s w i t h r e s p o n s e s . T h e w h o l e m a t e r i a l n e c e s s a r y to s i n g t h e w e e k l y o f f i c e w o u l d t h e n be have it in a present. separate book, because the weekly office cycle was performed S u c h m a t e r i a l is n o t o f t e n g i v e n i n a n t i p h o n e r s a n d b r e v i a r i e s . I t w a s c o n v e n i e n t to i n d e p e n d e n t l y of t h e festal c y c l e , b r e a k i n g o f f w h e n e v e r a f e a s t - d a y i n t e r v e n e d a n d r e s u m i n g w h e n t h e f e a s t - d a y w a s o v e r . A s S t e i n e r r e m a r k s , ' t h e P r o p e r of t h e T i m e a n d of t h e S a i n t s . . . No facsimile is e s s e n t i a l l y a m o r e o r less l e n g t h y s e r i e s o f i n t e r r u p t i o n s i n t o NG). with notated chants has been published. [the S u n d a y a n d f e r i a l ] O f f i c e ' ( ' P s a l t e r ' , of a l i t u r g i c a l p s a l t e r Romanum

L e r o q u a i s ( 1 9 4 0 - 1 ) describes a large n u m b e r . T h e sections c o v e r i n g the w e e k l y office i n t h e Antiphonale a n d t h e Antiphonale monasticum present the psalter i n first sets o u t the o r d e r as s u n g b u t o m i t t h e N i g h t O f f i c e , w h i l e t h e Liber usualis

V e s p e r psalms a n d M a g n i f i c a t i n all eight p s a l m tones b u t w i t h o u t a n t i p h o n s , t h e n to the L i t t l e H o u r s o n w e e k d a y s . T h e restores the N i g h t Office (called V i g i l s ) . n e w Psalterium monasticum of

then 1981

p r o c e e d s t o t h e h o u r s o n S u n d a y e x c e p t f o r the N i g h t O f f i c e , w h i c h are g i v e n i n f u l l ,

(ii)

Hymnals Sterner, ' H y m n , I I .

M o b e r g 1947; M M M A 1; G n e u s s 1968; Stablein, ' H y m n a r ' , MGG; Monophonic Latin', A G .

r

Editions with music: E b e l 1930 ( w i t h facsimile of E i n s i e d e l n , Stiftsbibliothek 366: see M M M A 1) W a d d e l l 1984 (critical e d i t i o n of the C i s t e r c i a n h y m n a l f r o m manuscript sources) M M M A 1: Stablein's e d i t i o n of over 550 melodies, where the f o l l o w i n g h y m n a l s are given c o m p l e t e : M i l a n , B i b l i o t e c a T r i v u l z i a n a 347 ( M i l a n , 14th c.) H e i l i g e n k r e u z , S t i f t s b i b l i o t h e k 20 (Cistercian, 1 2 t h - 1 3 t h c.) R o m e , B i b l i o t e c a A p o s t o l i c a Vaticana, Rossi 205 ( M o i s s a c , 1 0 t h - 1 1 t h c.) Paris, B i b l i o t h e q u e N a t i o n a l e , n . a . l . 1235 ( N e v e r s , 12th Worcester, C a t h e d r a l C h a p t e r L i b r a r y F . 160 (Worcester, 1*-12*) K l o s t e r n e u b u r g , Stiftsbibliothek 1000 ( K l o s t e r n e u b u r g , Z u r i c h , Z e n t r a l b i b l i o t h e k , R h e i n a u 83 ( K e m p t e n , early E i n s i e d e l n , S t i f t s b i b l i o t h e k 366 ( E i n s i e d e l n , first half of facs. E b e l 1930) V e r o n a , B i b l i o t e c a C a p i t o l a r e C I X (102) ( V e r o n a , 11th R o m e , B i b l i o t e c a Casanatense 1574 (Gaeta, 12th c.) The of h y m n a l was the other book: chant-book Paris 1235, for the office c.) 13th c . ; facs. P a l M u s 12, 1336) 11th c.) the 12th c., m i d - 1 3 t h c.)

c;

hours

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often with a

copied large

separately f r o m the a n t i p h o n e r than i n c l u d e d i n it. O c c a s i o n a l l y a h y m n a l f o r m s part quite a different for e x a m p l e , is a g r a d u a l s u p p l e m e n t a r y section g i v i n g tropes, sequences, a n d o r d i n a r y - o f - m a s s chants for the m a i n f e a s t s ; i n b e t w e e n t h e s e c o m e a p r o c e s s i o n a l , a c o l l e c t i o n of s h o r t r e s p o n s o r i e s , a tonary, and a h y m n a l . T h e arrangement hymns will be of h y m n a l s u s u a l l y r e s e m b l e s b e g i n n i n g of the t h a t of a n t i p h o n e r s . T h e A s an example hymns of the f o r t h e w e e k l y o f f i c e u s u a l l y a p p e a r at E p i p h a n y t i d e . T h e m u c h - r e p e a t e d C o m p l i n e g i v e n at t h e collection. a r r a n g e m e n t of a t h i r t e e n t h - c e n t u r y h y m n a l , the S a r u m m a n u s c r i p t O x f o r d , B o d l e i a n L i b r a r y , L a u d l a t . 95 m a y b e d e s c r i b e d . T h e r e are 100 h y m n s , d i s t r i b u t e d as f o l l o w s ( o n l y f o r t h e first f e w are t h e a s s i g n m e n t s g i v e n i n d e t a i l ) : 1 2 3 4 5 first first first S u n d a y of A d v e n t : V e s p e r s C o m p l i n e e x c e p t o n d o u b l e feasts a n d d u r i n g L e n t S u n d a y of A d v e n t : N i g h t O f f i c e S u n d a y of A d v e n t : L a u d s Christmas Eve: Vespers

6. Psalters, 6 7 8 9 10 11 12-19 20-37 38-65 66-88 89-98 99-100 Stablein's

Hymnals,

Collectars,

Lectionaries

311

C o m p l i n e o n d o u b l e feasts e x c e p t o n t h e A n n u n c i a t i o n of t h e B V M a n d f r o m E a s t e r to W h i t s u n t i d e Christmas: Night Office Christmas: L a u d s and Vespers St S t e p h e n : Vespers and N i g h t Office E p i p h a n y : Vespers a n d N i g h t Office Epiphany: Lauds first S u n d a y a f t e r E p i p h a n y : first V e s p e r s , N i g h t O f f i c e , L a u d s , P r i m e Vespers Office, Lauds, Vespers (no Vespers on Night T e r c e , Sext, N o n e , second M o n d a y to S a t u r d a y : Saturday) Q u a d r a g e s i m a S u n d a y to t h e first S u n d a y a f t e r t h e O c t a v e of with a supplement C o m m o n of S a i n t s D e d i c a t i o n of t h e C h u r c h e d i t i o n of t h e c o n t e n t s sources. of s e v e r a l h y m n a l s , w i t h o t h e r miscellaneous or 1 is t h e s i n g l e m o s t i m p o r t a n t r e f e r e n c e t o o l f o r t h e s u b j e c t , a n d M a n y of t h e s e are a n t i p h o n e r s , b r e v i a r i e s , Pentecost Dec.) S a n c t o r a l e f r o m S t V i n c e n t (22 J a n . ) to S t J o h n t h e E v a n g e l i s t (27

items, i n M M M A

c o n t a i n s a l i s t of o v e r 3 6 0

psalters w i t h attached h y m n a l s . T h e earliest extant h y m n a l s , w h i c h have n o m u s i c a l n o t a t i o n , d a t e b a c k to t h e e i g h t h c e n t u r y ; t h e e a r l i e s t n o t a t e d c o l l e c t i o n s are f r o m t h e e l e v e n t h c e n t u r y . W h i l e G n e u s s ( 1 9 6 8 ) has a n a l y z e d a n u m b e r o f e a r l y c o l l e c t i o n s a n d e s t a b l i s h e d t h e i r i n t e r r e l a t i o n s h i p s , M o b e r g ( 1 9 4 7 ) has c a r r i e d o u t a l m o s t t h e o n l y comparable w o r k o n later b o o k s . T h e earliest c o l l e c t i o n s , r e f e r r e d t o as t h e O l d Two H y m n a l t y p e I, u n i t e i n a b r o a d w a y t h e m o n a s t i c u s e s b o t h of G a u l ( S t C a e s a r i u s o f A r i e s ) a n d Italy (St B e n e d i c t ) a n d c a n be l i n k e d to the A m b r o s i a n r e p e r t o r y . r e c a s t i n g s o f t h e O l d H y m n a l are t h e n t r a c e a b l e : t h e O l d H y m n a l t y p e I I is f o u n d i n F r a n k i s h s o u r c e s of t h e e i g h t h a n d n i n t h c e n t u r i e s ; t h e N e w F l y m n a l , w h i c h m a y b e c o n n e c t e d w i t h t h e r e f o r m s of S t B e n e d i c t of A n i a n e ( d . 8 2 1 ) sources f r o m the ninth century onwards and constitutes the is f o u n d i n F r a n k i s h basis of m o s t later

c o l l e c t i o n s . A n e x c e p t i o n is t h e h y m n a l of t h e C i s t e r c i a n s , w h i c h w a s a c o n s c i o u s a t t e m p t to r e t u r n to t h e s u p p o s e d h y m n s of S t A m b r o s e : M i l a n e s e s o u r c e s w e r e u s e d f o r t h e p u r p o s e , t h o u g h t h e y h a d t o b e s u p p l e m e n t e d b y o t h e r s b e t t e r k n o w n to t h e F r e n c h m o n k s (see t h e d i s c u s s i o n i n W a d d e l l 1 9 8 4 ) .

(iii)

Collectars

G y 1960 ( w i t h list of sources to c . 1 4 0 0 ) . T h e c o l l e c t a r ( o r o r a t i o n a l ) is a b o o k c o n t a i n i n g t h e c o l l e c t s a n d o f t e n also t h e s h o r t lessons (capitula or chapters) used i n the office h o u r s . T h e same person usually r e c i t e d b o t h . O n e e a c h o f t h e s e p r a y e r s a n d l e s s o n s w a s s a i d at e a c h o f t h e d a y h o u r s , t h a t i s , at a l l e x c e p t t h e N i g h t O f f i c e . T h e l e s s o n f o l l o w e d t h e p s a l m s , t h e c o l l e c t c a m e

at the e n d . C o l l e c t a r s c o m m o n l y i n c l u d e o t h e r m a t e r i a l as w e l l , s u c h as t h e v e r s i c l e and response The earliest and incipits for antiphons, s u r v i v i n g collectar the so-called responsories, and h y m n s . If the book p r o v i d e s t h e c h a n t s i n f u l l it has b e c o m e , (Mozarabic) rite: i n e f f e c t , a s o r t of d i u r n a l . the early eighth century

is n o t f o r the R o m a n b u t f o r t h e O l d S p a n i s h

Verona Orational from

(Verona L X X X I X ; encompass. (i)

e d . V i v e s a n d C l a v e r a s 1946).

T w o fine collectars f r o m eleventh-century E n g l a n d s h o w what the collectar m i g h t L o n d o n , B r i t i s h L i b r a r y , H a r l e y 2961 ('Leofric Collectar'), 1914-21): m a n u s c r i p t breaks of St Wulstan off or Exeter, third

q u a r t e r of e l e v e n t h c e n t u r y (text e d . D e w i c k a n d F r e r e eight (ii) sequences, w i t h Corpus

collectar, i n c l u d i n g antiphons and responsories, often in full h y m n a l t h e s t a r t of a n i n t h b e f o r e the Christi College 391 incomplete Cambridge, (Tortifonum ' C o l l e c t a r of S t O s w a l d ) , W o r c e s t e r , ed. A n s e l m Hughes kalendar psalter, canticles, hymnal m o n a s t i c c a n t i c l e s ( f o r t h e t h i r d N o c t u r n of t h e N i g h t O f f i c e ) c o l l e c t a r : T e m p o r a l e a n d S a n c t o r a l e ( f r o m S t S t e p h e n , 26 D e c , to S t A n d r e w , 30 N o v . ) , i n c l u d i n g n o t a t e d S t T h o m a s , 21 collectar: notation) blessings and ordeals A t t h i s p o i n t a n e w h a n d has c o p i e d p r i v a t e p r a y e r s , L a t i n a n d A n g l o - S a x o n . T h e n a n e w s e c t i o n b e g i n s i n yet a n o t h e r h a n d ( o r p e r h a p s t h e first h a n d i n a later and notated chants: Sanctorum phase), g i v i n g p a r t s of t h e o f f i c e as i n a b r e v i a r y , i n c l u d i n g t h e N i g h t O f f i c e , w i t h f u l l l e s s o n s Commune summer Trinity Dec.) Sanctorum and Dedication of the Church (without chants ( S t S i l v e s t e r , 31 D e c , to s u p p l e m e n t a r y collects for a m u c h fuller Sanctorale Commune litany 1958-60): s e c o n d h a l f o f e l e v e n t h c e n t u r y ( m o s t of t e x t

Sunday Vespers and N i g h t Office Sundays Sunday offices of t h e Holy Cross a n d the Blessed Virgin M a r y on

commemorative

S a t u r d a y ; O f f i c e of t h e D e a d A t t h e e n d of t h e b o o k a l a t e r h a n d has c o p i e d O - a n t i p h o n s . T h e t h i n k i n g b e h i n d t h i s p a r t i c u l a r a s s e m b l a g e of m a t e r i a l is n o t a l w a y s c l e a r , a n d t h e m a n u s c r i p t i n i t s p r e s e n t state m a y u n i t e b o o k s o r i g i n a l l y p r e p a r e d a p a r t . A t a n y r a t e , it a l l o w s s o m e i n s i g h t i n t o t h e f l e x i b i l i t y w i t h w h i c h t h e o f f i c e t e x t s c o u l d be codified.

(iv)

Office

Lectionaries

W h i l e the day h o u r s h a d o n l y the short chapters for lessons, the N i g h t O f f i c e h a d n i n e (secular or R o m a n cursus) or twelve (monastic cursus) lengthy lessons. T h e s e were t a k e n f r o m v a r i o u s s o u r c e s , a n d b o o k s w e r e m a d e to c o n t a i n e a c h t y p e of l e s s o n . T h e c o m m o n e s t p a t t e r n w a s : first N o c t u r n , t h e B i b l e ; s e c o n d N o c t u r n , s e r m o n b y o n e of the C h u r c h Fathers; t h i r d N o c t u r n , h o m i l y (a s h o r t d i s q u i s i t i o n u p o n a p a s s a g e Latin C h u r c h Fathers (Ambrose, of s c r i p t u r e ) , f r o m t h e Vita u s u a l l y b y o n e of t h e f o u r great

Augustine, Jerome,

G r e g o r y ) . F o r m a n y feasts of t h e S a n c t o r a l e , p a s s a g e s w e r e r e a d

of t h e s a i n t i n q u e s t i o n , w h i c h m i g h t be g a t h e r e d t o g e t h e r i n a l e g e n d a r ,

passional, or m a r t y r o l o g y . B a s i c w o r k o n h o m i l i a r i e s h a s b e e n d o n e b y G r e g o i r e ( 1 9 6 6 , 1 9 8 0 ) . S a i n t s ' l i v e s are p u b l i s h e d i n t h e m a s s i v e s e r i e s Acta sanctorum (a c o n v e n i e n t w a y t o find t e x t s is at sanctorum). Sanctorum 123, P e r h a p s the t w o most (Acta and N o v . I I , i i . 1931) PL 124, t h e e n t r y f o r t h e s a i n t i n q u e s t i o n i n Bibliotheca sanctorum N o v . II, i . 1894; n e w e d i t i o n Acta ninth century

i m p o r t a n t m a r t y r o l o g i e s are t h e H i e r o n y m i a n M a r t y r o l o g y o f t h e fifth c e n t u r y U s u a r d ' s M a r t y r o l o g y of t h e (PL 453-992;

9-860;

D u b o i s 1 9 6 5 ) . ( O n m a r t y r o l o g i e s , see Q u e n t i n 1 9 0 8 . )

III.7.

S E Q U E N T I A R I E S ,T R O P E R S , A N D

K Y R I A L E S

R I S M B / V / l ; E m e r s o n , 'Sources, M S , I F , A G .
F A C S I M I L E S M A S S C H A N T S O F W I T H M A N U S C R I P T S T R O P E S : C O N T A I N I N G S E Q U E N C E S , T R O P E S , A N D O R D I N A R Y - O F -

A a c h e n , Bischofliche D i o z e s a n b i b l i o t h e k 13: M M S 2 (omits gradual) B a m b e r g , Staatsbibliothek l i t . 6: see B a m b e r g 6 B a r i , Biblioteca Capitolare 1: M M S 1 (omits o r d i n a r y - o f - m a s s chants) Benevento, A r c h i v i o Capitolare 34: P a l M u s 15 C a m b r i d g e , U n i v e r s i t y L i b r a r y , A d d . 710: M M S 4 C h a r t r e s , B i b l i o t h e q u e M u n i c i p a l e 47: P a l M u s 11 R o m e , Biblioteca A n g e l i c a 123: P a l M u s 18 R o m e , B i b l i o t e c a Casanatense 1741: V e c c h i 1955 private collection of M a r t i n B o d m e r , C . 74: L i i t o l f 1987
E D I T I O N S W I T H M U S I C :

P a r i s , B i b l i o t h e q u e Nationale lat. 1121: Paul E v a n s 1970 R o m e , Biblioteca A p o s t o l i c a V a t i c a n a , V a t . lat. 5319: M M M A 2

O T H E R C O M P R E H E N S I V E E D I T I O N S OR S T U D I E S :

sources f r o m W i n c h e s t e r : F r e r e 1894, Planchart 1977 A p t , Cathedrale S a m t e - A n n e 17 and 18: C T 5 W o l f e n b u t t e l , H e r z o g - A u g u s t - B i b l i o t h e k , G u e l f . 79 G u d . l a t . : C T 6 T h e r e are f e w w r i t t e n traces of s e q u e n c e s o r t r o p e s i n t h e n i n t h c e n t u r y , t h o u g h t h e y w e r e c e r t a i n l y s u n g t h e n . T h e e a r l i e s t t r o p e a n d s e q u e n c e c o l l e c t i o n s of m o d e r a t e s i z e

to h a v e s u r v i v e d are i n m a n u s c r i p t s of t h e b e g i n n i n g of t h e t e n t h c e n t u r y o n w a r d s . A l t h o u g h t h i s is n o t so d i f f e r e n t f r o m t h e s i t u a t i o n of o t h e r c h a n t s , the textual t r a d i t i o n of t h e l a t t e r g o e s m u c h f u r t h e r b a c k . T h e c o l l e c t i o n of s e q u e n c e m e l o d i e s i n C h a r t r e s , B i b l i o t h e q u e M u n i c i p a l e 47 ( B r i t t a n y , late n i n t h c e n t u r y ) , t h e s e q u e n c e s a n d t r o p e s i n P a r i s , B i b l i o t h e q u e N a t i o n a l e , l a t . 1240 ( L i m o g e s , 9 3 0 s ) a n d t h e t r o p e s i n V i e n n a , N a t i o n a l b i b l i o t h e k 1609 b e g i n n i n g of t h e w r i t t e n t r a d i t i o n . Sequences, tropes, and ordinary-of-mass chants had their o w n i n d i v i d u a l history a n d t h e i r o w n special f u n c t i o n w i t h i n the l i t u r g y , a n d hence were o f t e n c o p i e d i n collections separately f r o m other chants. Sometimes they were g r o u p e d alongside chants, e a c h o t h e r , so t h a t c o m b i n e d v o l u m e s of ' s p e c i a l ' m a t e r i a l w e r e c r e a t e d . T h e s e m i g h t i n c l u d e o t h e r c h a n t s as w e l l , s u c h as o f f e r t o r y v e r s e s , a l l e l u i a s , p r o c e s s i o n a l tropes i n the strict s e n s e are not the only components. Books l i t u r g i c a l d r a m a s , a n d so o n . T h e u s u a l n a m e f o r s u c h a b o o k is ' t r o p e r ' , a l t h o u g h c o n t a i n i n g onlys e q u e n c e s , o r s e q u e n t i a r i e s , are less c o m m o n ; a n d b o o k s c o n t a i n i n g o n l y o r d i n a r y - o f m a s s c h a n t s , k n o w n at least s i n c e t h e s i x t e e n t h c e n t u r y as k y r i a l e s , are e v e n r a r e r . O n t h e o t h e r h a n d , a f t e r t h e c l a s s i c a l t r o p e s f o r t h e p r o p e r c h a n t s of m a s s h a d f a l l e n o u t of use i n t h e t w e l f t h c e n t u r y , it is c o m m o n to find c o m b i n e d s e q u e n t i a r i e s a n d k y r i a l e s . T h e use o f t h e t e r m ' t r o p e r ' f o r these c o l l e c t i o n s is less a p p r o p r i a t e , f o r u s u a l l y t h e o n l y t r o p e s p r e s e n t are a f e w f o r the o r d i n a r y - o f - m a s s c h a n t s . M o s t o f t h e s p e c i a l m a t e r i a l is f o r s o l o i s t s to s i n g . B y a n a l o g y w i t h t h e o l d e r b o o k c o n t a i n i n g t h e s o l o i s t s ' p a r t s of t h e p r o p e r - o f - m a s s c h a n t s ( g r a d u a l a n d a l l e l u i a v e r s e s , t r a c t s ) , t h e t r o p e r is s o m e t i m e s r e f e r r e d to as a c a n t a t o r i u m ; it is b e t t e r to a v o i d t h i s usage. L i k e s e q u e n c e s a n d o r d i n a r y c h a n t s , m o s t t r o p e s are f o r the m a s s . J u s t as f r e q u e n t as t h e c o l l e c t i o n of t h e s p e c i a l c h a n t s i n a b o o k a p a r t is t h e i r i n c l u s i o n i n t h e g r a d u a l ( o r l a t e r i n t h e m i s s a l ) . S i n c e t r o p e s f o r t h e o f f i c e are r e s t r i c t e d to p r o s u l a s f o r t h e m e l i s m a s of r e s p o n s o r i e s , t h e a n t i p h o n e r w a s e a s i l y a b l e to take t h e s e i n t o its f o l d , a n d c o l l e c t i o n s of p r o s u l a s i n t r o p e r s are n o t c o m m o n . W h e n s e q u e n c e s , tropes, and o r d i n a r y - o f - m a s s c h a n t s w e r e i n c l u d e d i n an e x p a n d e d g r a d u a l , they w e r e u s u a l l y c o p i e d i n s e c t i o n s of t h e i r o w n . S o m e m a n u s c r i p t s , h o w e v e r m a i n l y I t a l i a n g i v e tropes well. The general t r e n d w a s a w a y f r o m s e p a r a t e c o l l e c t i o n s of s p e c i a l m a t e r i a l and t o w a r d s its i n t e g r a t i o n i n t o t h e g r a d u a l o r m i s s a l . A f t e r t h e t h i r t e e n t h c e n t u r y t r o p e r s are r a r e , p a r t l y a l s o b e c a u s e t r o p i n g itself f e l l o u t of f a s h i o n . T h e m a n u s c r i p t s d e s c r i b e d b y H u s m a n n i n R I S M B / V / l , Tropenhandschriften, und Sequenzend o not i n c l u d e graduals ( w i t h one or t w o exceptions) or a n t i p h o n e r s . Graduel and ordinary chants at the a p p r o p r i a t e l i t u r g i c a l p l a c e a m o n g t h e proper c h a n t s . S e q u e n c e s c a n o c c a s i o n a l l y be f o u n d a m o n g t h e p r o p e r c h a n t s o u t s i d e I t a l y as (Freising? early tenth century) stand near the

N o r e p r e s e n t a t i v e l i s t i n g of s e q u e n c e s o u r c e s is a v a i l a b l e , t h o u g h a p r o v i s i o n a l o n e c o u l d b e c o m p i l e d b y c o m b i n i n g H u s m a n n ' s i n f o r m a t i o n w i t h t h a t i n IJ? romain, II: I^es Sources, w h i c h c o v e r s g r a d u a l s a n d m i s s a l s . F o r t h e p r o p e r t r o p e s of

m a s s , t h e r e are c o m p r e h e n s i v e lists of s o u r c e s i n C o r p u s T r o p o r u m 1 a n d 3 ( n i n e t y -

two in the graduals,

latter).

Ordinary-of-mass chants

are e q u a l l y d i v i d e d b e t w e e n i n sections apart, but

tropers,

and missals,

again u s u a l l y collected

occasionally

amalgamated

w i t h t h e p r o p e r c h a n t s , o r at least c u e d to t h e i r a p p r o p r i a t e l i t u r g i c a l t h e m , the catalogues of L a n d w e h r - M e l n i c k i ( 1 9 5 5 ) , 496

place b y an i n c i p i t . Between

Bosse (1955), R o n n a u (1967), T h a n n a b a u r (1962), and S c h i l d b a c h (1967), s u p p l e m e n t e d b y H i l e y ( 1 9 8 6 , ' O r d i n a r y ' ) , list o v e r 5 0 0 s o u r c e s of o r d i n a r y c h a n t s . s o u r c e s of r e s p o n s o r y p r o s u l a s are l i s t e d b y H o f m a n n - B r a n d t ( 1 9 7 1 ) . T h e c h i e f c o n t e n t s of f e w m o r e o r less t y p i c a l s o u r c e s m a y b e l i s t e d b r i e f l y , i n o r d e r to g i v e a n i d e a o f t h e i r n a t u r e a n d v a r i e t y . (a) Tropers 1. O x f o r d , B o d l e i a n L i b r a r y , B o d l e y 775 ( O l d M i n s t e r , W i n c h e s t e r , m i d - e l e v e n t h century): graduals a n d p r o p e r tropes for the w h o l e year, s o m e t i m e s w i t h alleluias. F o r each mass the u s u a l o r d e r i s : trope verses for the i n t r o i t , g r a d u a l verse, a l l e l u i a (often o n l y i n c i p i t ) , t r o p e verses f o r t h e o f f e r t o r y , t r o p e v e r s e s f o r t h e c o m m u n i o n ordinary-of-mass chants, troped then untroped alleluias for the w h o l e year tracts sequence melodies sequence texts, notated A t t h e b e g i n n i n g , a f t e r the s e q u e n c e m e l o d i e s , a n d at t h e e n d are f u r t h e r s e q u e n c e s and o r d i n a r y - o f - m a s s chants, most w i t h tropes, a d d e d i n the t w e l f t h c e n t u r y . 2. Munich, Bayerische 1030s): Exultet Staatsbibliothek, elm 14322 (abbey of St Emmeram, Regensburg,

litany h y m n s ,

notated sequence texts w i t h melodies i n m a r g i n graduals and tracts alleluias proper tropes ordinary-of-mass untroped, Ite m i s s a est 3. Sicily, r.1100): tonary processional Kyries, troped then untroped Glorias, troped then untroped alleluias sequences offertory verses, some w i t h prosulas etc.) chants chants (Kyries, troped then untroped, Glorias, troped then

o f f e r t o r y v e r s e s ( o n l y the i n c i p i t of t h e r e s p o n d is g i v e n ) M a d r i d , B i b l i o t e c a N a c i o n a l 2 8 8 ( c h a p e l of t h e N o r m a n r u l e r s of s o u t h I t a l y a n d

Sanctus, troped then untroped Agnus, troped then untroped responsory liturgical 4. prosulas songs B e n e d i c a m u s chants, some w i t h tropes, Benedicamus dramas N a t i o n a l e , lat. 909 ( a b b e y of S a i n t - M a r t i a l at Limoges, o f f i c e s of S S J u l i a n , E g i d i u s , a n d M a r y M a g d a l e n e Paris, Bibliotheque c. 1 0 2 5 - 3 0 ) : proper tropes c h a n t s f o r t h e o r d i n a r y of m a s s , t r o p e d t h e n u n t r o p e d ( K y r i e s a n d start of G l o r i a s lost) sequences tracts c o m m u n i o n p s a l m verses processional alleluias offertory verses tonary office a n t i p h o n s for s u m m e r S u n d a y s , T r i n i t y office B e t w e e n t h e p r o p e r t r o p e s a n d o r d i n a r y c h a n t s m a t e r i a l w a s a d d e d w h i c h i n c l u d e s the o f f i c e s of S S M a r t i a l , V a l e r i a , a n d A u s t r i c l i n i a n u s of L i m o g e s . 5. P a r i s , B i b l i o t h e q u e N a t i o n a l e , l a t . 1118 ( A u c h ? , late 1 0 t h feast b y feast tonary prosulas (alleluia and offertory prosulas, also the Fabrice mundi responsory prosulas, all i n liturgical order) sequence melodies notated sequence texts 6. P a r i s , B i b l i o t h e q u e N a t i o n a l e , l a t . 10508 ( a b b e y of S a i n t - E v r o u l t , N o r m a n d y , c.): early 12th c): c o m b i n e d proper tropes and ordinary-of-mass chants, distributed in liturgical order

i n c i p i t s for i n t r o i t , o f f e r t o r y , and c o m m u n i o n t h r o u g h o u t the year K y r i e s , troped then untroped Glorias, troped then untroped s e q u e n c e s , o f t e n w i t h g r a d u a l a n d a l l e l u i a f o r the m a s s i n q u e s t i o n Sanctus, troped then untroped A g n u s , troped then untroped T h e rest of t h e m a n u s c r i p t c o n t a i n s s i x t h e o r y t r e a t i s e s , i n c l u d i n g G u i d o of A r e z z o ' s Micrologus. 7. R o m e , Biblioteca Casanatense chants (Kyries, untroped, etc.) 1741 ( a b b e y of N o n a n t o l a , late 11th then untroped, c.): then ordinary-of-mass troped Glorias, troped

fraction antiphons

expanded eantatorium. evangelium, (b) 8. Graduals

F o r each mass the o r d e r is u s u a l l y : t r o p e verses l o r the ante

i n t r o i t , g r a d u a l , t r a c t ( i n L e n t , e t c . ) , a l l e l u i a p r o s u l a , s e q u e n c e , antiphona

trope verses f o r t h e offertory, trope verses f o r the c o m m u n i o n .

M o d e n a , B i b l i o t e c a C a p i t o l a r e O . I . 7 ( F o r l i m p o p o l i , n e a r R a v e n n a , 11th 12th

g r a d u a l , w i t h tropes, sequences, etc. integrated into each mass i n l i t u r g i c a l order. A s a n e x a m p l e o f t h e m o s t e l a b o r a t e festal m a s s , t h a t o n E a s t e r D a y i n c l u d e s t h e following: troped introit, troped K y r i e , troped G l o r i a , gradual, alleluia with prosulas, sequence, troped offertory, troped Sanctus, fraction antiphon, troped Agnus, troped c o m m u n i o n . supplement 9. o f festal pieces (ordinary-of-mass chants with tropes, sequences, Limoges, proper tropes, etc.) P a r i s , B i b l i o t h e q u e N a t i o n a l e , lat. 903 (abbey of S a i n t - Y r i e i x , near s e c o n d h a l f of 1 1 t h c . ) gradual, w i t h prosulas for alleluias a n d offertories processional antiphons, p r o p e r tropes ordinary-of-mass untroped, etc.) sequences I n 2 a n d 4 e a c h g e n r e is s e p a r a t e ; i n 1 o n l y t h e g r a d u a l s a n d p r o p e r t r o p e s are i n t e g r a t e d . P r o p e r a n d o r d i n a r y tropes are c o m b i n e d i n 5 . S e q u e n c e s are to s o m e extent combined with graduals a n d alleluias i n 6. M o r e comprehensive is the i n t e g r a t i o n i n 7, b e f o r e 8 a m a l g a m a t e s t h e m a t e r i a l c o m p l e t e l y . I n 3 a n d 6 i t m a y b e seen that the v a r i o u s chants have been p l a c e d i n t h e i r correct l i t u r g i c a l o r d e r ( K y r i e , G l o r i a , sequence, Sanctus, etc.), t h o u g h the collections are n o t a m a l g a m a t e d w i t h one a n o t h e r . T h e r e a r e c o l l e c t i o n s of p r o c e s s i o n a l c h a n t s i n 3 , 4 , a n d 9 ; t o n a r i e s i n 3 , 4 , a n d 5 (and t h e o r y treatises i n 6 ) ; a n d saints' offices i n 3 a n d 4 . chants (Kyries, troped then untroped, Glorias, troped then preces

III.8.

P R O C E S S I O N A L S

G y 1960; Bailey 1971; H u g l o , 'Processional', NG.

F A C S I M I L E S :

Worcester, Sarum
T E X T

Cathedral C h a p t e r L i b r a r y F . 160 ( P a l M u s 12, 2 3 2 - 4 1 0 ) ;

Processionale

E D I T I O N S :

W . G . H e n d e r s o n 1875 ( Y o r k ) ; W . G . H e n d e r s o n 1882 ( S a r u m ) ; L e g g 1899 ( C h e s t e r ) ; W o r d s w o r t h 1901 ( S a r u m )

I N V E N T O R I E S :

Allworth

1970 (Donaueschingen

882Dominican);

Floyd

1990 ( E n g l i s h

monastic

processionals)

The

processional contains processional chants:

antiphons (some w i t h verses) and

h y m n s ( u s u a l l y w i t h r e f r a i n s ) . T h e p r o c e s s i o n s w h e r e t h e y w e r e s u n g t o o k p l a c e (i) o n c e r t a i n d a y s of s p e c i a l o b s e r v a n c e , (ii) b e f o r e m a s s o n f e a s t - d a y s (or at s o m e o t h e r t i m e d u r i n g t h e d a y ) . T h e r e p e r t o r y w a s n o t l a r g e , a n d m o s t e a r l y s o u r c e s c o p y the c h a n t s r e q u i r e d i n t o t h e g r a d u a l at t h e a p p r o p r i a t e p l a c e . A n o t h e r p l a c e f o r t h e m w a s in tropers, as h a s b e e n s e e n i n the previous chapter. F r o m about the thirteenth century separate books for processional chants become more c o m m o n , p a r t l y because the r u b r i c s for p e r f o r m i n g the services become m u c h more explicit about this t i m e . T h e e a r l i e s t s u r v i v i n g s e p a r a t e p r o c e s s i o n a l s date f r o m t h e t w e l f t h c e n t u r y . M a n y of t h e p r o c e s s i o n s f o r f e a s t - d a y s b o r r o w e d a r e s p o n s o r y f r o m V e s p e r s o r t h e N i g h t O f f i c e of t h e d a y i n q u e s t i o n ; t h e s e are n o t u s u a l l y c o p i e d i n t o t h e p r o c e s s i o n a l but would have been taken from the antiphoner. C o n v e r s e l y , the processional

T a b l e I I I . 8 . 1 . Contents of the Castle Acre Special ceremonies

processional Feast-days chants for processions after Vespers and the N i g h t Office f r o m the 1st S u n d a y of A d v e n t to E p i p h a n y A . O cmx benedicta for procession to the rood after Vespers on Sundays f r o m Octave of the E p i p h a n y to Passion Sunday and for the s u m m e r Sundays chants for procession before mass f r o m A d v e n t to Septuagesima S u n d a y

A s h Wednesday (Blessing of the Ashes and D i s m i s s a l of the Penitents) P a l m S u n d a y ( B l e s s i n g of the Palms) Maundy Thursday (Mandatum) G o o d F r i d a y (Reproaches, A d o r a t i o n of the Cross) Easter Eve 1st Sunday after Easter Rogation Days Ascension D a y to C o r p u s C h r i s t i P u r i f i c a t i o n of the B V M (2 F e b . ) (Blessing of the Candles) St Benedict (21 M a r . ) to St N i c h o l a s (6 D e c . ) further chants for procession i n A d v e n t , L e n t , etc.

a t t r a c t e d t o i t s e l f c h a n t s t h a t f o r m e d p a r t of c e r e m o n i e s o t h e r t h a n m a s s a n d t h e o f f i c e h o u r s , f o r e x a m p l e t h e M a u n d y a n t i p h o n s , c h a n t s f o r t h e V e n e r a t i o n of t h e C r o s s o n G o o d F r i d a y a n d f o r the E a s t e r V i g i l (the E x u l t e t , t h e h y m n Inventor because liturgical dramas also contain a processional element sometimes recorded i n processionals. rutili). too And were book these

A s a n e x a m p l e of w h a t a w e l l - s t o c k e d

m i g h t i n c l u d e , t h e c o n t e n t s of the Table 111.8.1 lists the occasions

fifteenth-century

p r o c e s s i o n a l of t h e C l u n i a c p r i o r y

at C a s t l e A c r e , N o r f o l k ( N o r w i c h C a s t l e M u s e u m 1 5 8 . 9 2 6 . 4 e ) m a y b e s u m m a r i z e d . i n m a n u s c r i p t o r d e r i n t w o c o l u m n s f o n e f o r the s p e c i a l c e r e m o n i e s , o n e f o r the feast-days f o r w h i c h a p r o c e s s i o n a l c h a n t is r e c o r d e d . O n feast-days the processions took place after V e s p e r s , after the N i g h t O f f i c e or after Mass. No comprehensive s u r v e y of the s o u r c e s has y e t b e e n p u b l i s h e d ( b u t H u g l o is cites several p r e p a r i n g o n e f o r R I S M ) . M e a n w h i l e H u g l o ' s a r t i c l e ' P r o c e s s i o n a l ' (NG) form. III.9. M I S S A L S Emerson

d o z e n s o u r c e s , a n d B a i l e y ( 1 9 7 1 ) lists the p r i n c i p a l c h a n t s o f m a n y s o u r c e s i n t a b u l a r

L e r o q u a i s 1924; Le Graduel romain, I I : L e s Sources; H u g l o , ' M i s s a l ' , NG; 'Sources, M S , I F , NG; A n d r e w H u g h e s 1982, 1 4 3 - 5 9 .
F A C S I M I L E S :

Benevento, Biblioteca Capitolare V I . 33: P a l M u s 20 Bratislava, C i t y A r c h i v e s , E C . L a d . 3, E L . 18 and other f r a g m e n t s : Missale $t?igoniense Missale
T E X T

notatum

Aboense

( D o m i n i c a n ) : Parvio 1971 (*signifies noted missal): Herfordensis

E D I T I O N S

p r i n t e d missal of H e r e f o r d of 1502: W . G . H e n d e r s o n 1874,

L o n d o n , Westminster A b b e y , ' L y t l i n g t o n missal': L e g g 1 8 9 1 - 7 * L e H a v r e , B i b l i o t h e q u e M u n i c i p a l e 330: T u r n e r 1962 * P a l e r m o , A r c h i v i o Storico e Diocesano 8: T e r r i z z i 1970 * Paris, B i b l i o t h e q u e Nationale, lat. 1105: A n s e l m H u g h e s 1963 * S a r u m : L e g g 1916 (from three early manuscripts) S a r u m : D i c k i n s o n 1861-83 (from printed editions) Y o r k : W . G . H e n d e r s o n 1874, Eboracensis (from p r i n t e d editions)
S A C R A M E N T A R I E S W I T H C H A N T INCIPITS I N M A R G I N :

* O x f o r d , B o d l e i a n L i b r a r y , Bodley 579: W a r r e n 1883 R o m e , B i b l i o t e c a A p o s t o l i c a Vaticana, O t t o b . lat. 3 1 3 : W i l s o n 1915

J U X T A P O S E D S A C R A M E N T A R Y A N D G R A D U A L :

Paris, B i b l i o t h e q u e Nationale, lat. 2291: chants listed N e t z e r Paris, B i b l i o t h e q u e Nationale, lat. 12050: AMS Z u r i c h , Z e n t r a l b i b l i o t h e k , R h e i n a u 30: A M S The

1910

t e r m ' m i s s a l ' is best r e s e r v e d f o r the b o o k c o n t a i n i n g a l l t h r e e of t h e of t h e m a s s : chants, prayers, and readings. ' N o t e d missal' can

main then

components

i n d i c a t e a b o o k w h e r e t h e c h a n t s are n o t a t e d . N o t e d m i s s a l s c a n be f o u n d f r o m as e a r l y as t h e t e n t h c e n t u r y , b u t t h e y are c o m m o n o n l y f r o m the t w e l f t h . T h e o l d e s t is B a l t i m o r e , W a l t e r s A r t G a l l e y M . 6, w h i c h c o n t a i n s o n l y festal a n d v o t i v e m a s s e s , w r i t t e n p r o b a b l y at S t M i c h a e l ' s , M o n t e G a r g a n o i n the t e n t h c e n t u r y . O t h e r e a r l y e x a m p l e s are a l s o I t a l i a n , i n c l u d i n g B e n e v e n t o , B i b l i o t e c a C a p i t o l a r e 33 ( P a l M u s 2 0 ) . O t h e r c o u n t r i e s d i d n o t take u p t h e i d e a w i t h a n y u r g e n c y . M a n y e a r l y n o r t h e r n b o o k s c o m b i n e s a c r a m e n t a r y , l e c t i o n a r y , a n d g r a d u a l i n less i n t e g r a t e d f a s h i o n . T h e j u x t a p o s i t i o n of t h e g r a d u a l a n d o t h e r b o o k s , side b y s i d e b u t n o t a m a l g a m a t e d , k n o w n as e a r l y as t h e n i n t h c e n t u r y . H u g l o ( ' M i s s a l ' , NG) N u m e r o u s early sacramentaries has c i t e d m a n y is examples.

f r o m n o r t h F r a n c e have chant text i n c i p i t s c o p i e d i n and

the m a r g i n , s o m e t i m e s n o t a t e d . A very few b o o k s s u r v i v e w h e r e for each mass first the c h a n t s are g i v e n a n d t h e n t h e p r a y e r s . E v e n r a r e r are b o o k s w h e r e t h e c h a n t s p r a y e r s are i n t e r m i n g l e d i n t h e c o r r e c t l i t u r g i c a l o r d e r . H u g l o is a b l e to c i t e o n l y t h r e e e x a m p l e s of t h e j u x t a p o s i t i o n of g r a d u a l a n d l e c t i o n a r y . (See P l a t e 2 f o r t h e r e m a i n s of one.) A f e w b o o k s are also k n o w n w h e r e g r a d u a l , s a c r a m e n t a r y , and lectionary are juxtaposed. T h e r e w a s at first n o g r e a t p r a c t i c a l b e n e f i t to be h a d f r o m a m a l g a m a t i n g g r a d u a l , sacramentary, and lectionary in one volume (though the situation whereby s a c r a m e n t a r i e s b e g a n at C h r i s t m a s , g r a d u a l s at A d v e n t , c o u l d b e r a t i o n a l i z e d , u s u a l l y i n f a v o u r of t h e g r a d u a l ) . B u t at the e n d of t h e e l e v e n t h c e n t u r y it b e c a m e o b l i g a t o r y i n R o m e , a n d t h e n c u s t o m a r y e l s e w h e r e , f o r the c e l e b r a n t to r e c i t e f o r h i m s e l f t e x t s of a l l c h a n t s ( L u d w i g F i s c h e r 1916, 8 0 - 1 ) . A n d f r o m the t h i r t e e n t h several leading churches, t h e m o s t i m p o r t a n t b e i n g the p a p a l c h a p e l i t s e l f the century (others uses.

i n c l u d e Paris, S a l i s b u r y , the D o m i n i c a n s ) revised their liturgies and c o d i f i e d t h e m i n c o m p r e h e n s i v e r u b r i c a t e d m a n u s c r i p t s , w h i c h s e r v e d as m o d e l s f o r o t h e r A l a r g e n u m b e r h a v e n o t a t i o n o n l y f o r t h e C a n o n of t h e M a s s , s u n g b y t h e M a n y missals were not designed to serve the cantor and r e m a i n e d w i t h o u t n o t a t i o n . celebrant. who A n o t h e r t y p e of m i s s a l c o n t a i n s o n l y m a s s e s f o r the h i g h e s t feasts ( s o m e t i m e s c a l l e d a ' m i s s a l e f e s t i v u m ' ) . S u c h m i s s a l s w e r e u s u a l l y f o r t h e use of a b i s h o p o r a b b o t , m i g h t be e x p e c t e d t o b e p r e s e n t at h i s ' h o m e ' c h u r c h o n s u c h h i g h f e s t i v a l s . M a n y m i s s a l s w i t h n o t a t i o n s u r v i v e f r o m c h u r c h e s w h e n c e n o g r a d u a l is k n o w n , a n d are c r u c i a l w i t n e s s e s d e s c r i p t i o n s i n L e Graduel f o r o u r k n o w l e d g e of r e g i o n a l c h a n t t r a d i t i o n s (see romain II and Emerson). U n n o t a t e d m i s s a l s are repertories. the also

i m p o r t a n t for the s t u d y of chant

III.10. Baumer
T E X T

B R E V I A R I E S S a l m o n 1959; S a l m o n 1967; Huglo,

1905;

B a t i f f o l 1911;

L e r o q u a i s 1934;

' B r e v i a r y ' , NG\ A n d r e w H u g h e s 1982,

E D I T I O N S :

197-224, 2 3 8 - 4 4 .

C a m b r i d g e , M a g d a l e n e College F . 4. 11: C o l l i n s 1969 p r i n t e d breviary of H e r e f o r d , 1505: F r e r e and B r o w n 1904-15

11.

Compendia

321

O x f o r d , B o d l e i a n L i b r a r y , R a w l . L i t . e. 1* and G o u g h L i t . 8: T o l h u r s t 1932-43 p r i n t e d b r e v i a r y of Salisbury, 1531: Procter and W o r d s w o r t h 1 8 7 9 - 8 6 p r i n t e d b r e v i a r y of Y o r k , 1476: L a w l e y 1 8 8 0 - 3 The b r e v i a r y unites all the chants, p r a y e r s , a n d l e s s o n s of t h e o f f i c e h o u r s i n o n e both the

v o l u m e . T h e reason for assembling such a c u m b e r s o m e v o l u m e c u m b e r s o m e the o f f i c e s e e m s to h a v e been the urge to p r o v i d e s t a n d a r d exemplars of

f r o m its s h e e r s i z e a n d also b e c a u s e of t h e f r e q u e n t c r o s s - r e f e r r i n g a l w a y s n e c e s s a r y i n l i t u r g i c a l u s e o f v a r i o u s c h u r c h e s . T h e o b l i g a t i o n of t r a v e l l i n g p r i e s t s a n d m o n k s t o r e c i t e t h e o f f i c e f o r t h e m s e l v e s m a y also h a v e l e d to t h e p r o d u c t i o n of s u c h b o o k s t h e R u l e of C h r o d e g a n g of M e t z ( d . 766) are n e v e r t h e l e s s already directed that w h e n a cleric c o u l d not a t t e n d o n e of t h e o f f i c e h o u r s h e m u s t say it p r i v a t e l y . M o s t s u r v i v i n g e a r l y b r e v i a r i e s f o r use i n m o n a s t e r i e s . A f e w e a r l y s o u r c e s are j u x t a p o s i t i o n s of t h e c o m p o n e n t p a r t s of t h e b r e v i a r y , r a t h e r t h a n a m a l g a m a t i o n s w i t h a l l t h e m a t e r i a l i n c o r r e c t l i t u r g i c a l o r d e r (see H u g l o ) . M a n y breviaries c o n t a i n shortened lessons, a practice w h i c h gave the b o o k its n a m e . T h i s p r a c t i c e is k n o w n f r o m t h e p a p a l c o u r t f r o m t h e t h i r t e e n t h c e n t u r y , w h e r e t h e o f f i c e w a s i n a n y case o n l y r e c i t e d p r i v a t e l y . T h e b r e v i a r y d r a w n u p u n d e r III Innocent ( 1 1 9 8 - 1 2 1 6 ) is of t h i s a b b r e v i a t e d t y p e (see v a n D i j k a n d W a l k e r 1 9 6 0 ) . N o t e d b r e v i a r i e s are as v a l u a b l e as a n t i p h o n e r s f o r t h e i n v e s t i g a t i o n of r e g i o n a l m u s i c a l t r a d i t i o n s . B r e v i a r i e s w i t h o u t n o t a t i o n are also v i t a l f o r o u r u n d e r s t a n d i n g of t h e d e v e l o p m e n t of l o c a l r e p e r t o r i e s , as H e s b e r t (CAO 5-6) has demonstrated.

III.11.

C O M P E N D I A

T h e d i v i s i o n of o f f i c e f r o m m a s s w a s n o t p r a c t i s e d i n the M o z a r a b i c o r M i l a n e s e r i t e s , a n d their l i t u r g i c a l books amalgamate w h a t i n G r e g o r i a n usage w o u l d have been early sources juxtapose an unnotated g r a d u a l a n d an a n t i p h o n e r : A l b i , M u n i c i p a l e 44 and Paris, Bibliotheque N a t i o n a l e , lat. c e n t u r y , are t w o s u c h . T h e ' M o n t - R e n a u d m a n u s c r i p t ' ( P a l M u s 16) then added about half a century later. P a r i s , B i b l i o t h e q u e M a z a r i n e 384 the a n t i p h o n e r a n d g r a d u a l . T h i s is rare a m o n g G r e g o r i a n s o u r c e s , t h o u g h a n u m b e r of Bibliotheque ninth of is a b o o k 1 7 4 3 6 , b o t h of t h e

s i m i l a r sort of t h e m i d - t e n t h c e n t u r y ( p r o b a b l y f r o m C o r b i e ) , to w h i c h n o t a t i o n w a s (Saint-Denis, e a r l y e l e v e n t h c e n t u r y ) c o n t a i n s b o t h a n o t a t e d g r a d u a l a n d a l i s t o f c h a n t s of t h e a n t i p h o n e r . P a r i s , B i b l i o t h e q u e N a t i o n a l e , l a t . 1 2 5 8 4 is a c o m b i n e d a n t i p h o n e r a n d g r a d u a l (the a n t i p h o n e r t e x t e d i t e d b y H e s b e r t , CAO Saint-Maur-les-Fosses. 2) o f t h e t w e l f t h c e n t u r y f r o m interest' u s e of a A g a i n , t h e t w o s e c t i o n s are n o t a m a l g a m a t e d . T h e b o o k a l s o

i n c l u d e s a t o n a r y . It f o l l o w s C l u n i a c u s e , s i g n i f i c a n t i n v i e w of t h e a p p a r e n t of the C l u n i a c s i n c r e a t i n g c o m p e n d i a to i n c l u d e t h e e n t i r e l i t u r g y . S u c h c o m p e n d i a seem to h a v e b e e n attempts to c o d i f y t h e c o m p l e t e

p a r t i c u l a r c h u r c h f o r r e f e r e n c e p u r p o s e s . T h e y w o u l d h a v e b e e n of p a r t i c u l a r v a l u e t o

the precentor liturgy.

of t h e c h u r c h , w h o n o r m a l l y h a d c h a r g e of t h e p e r f o r m a n c e

of

the

O n e of t h e e a r l i e s t c o m b i n e d n o t e d b r e v i a r y - m i s s a l s is C l u n i a c : R o m e , Casanatense 1907, from San Salvatore on Monte A m i a t e , of t h e early

Biblioteca eleventh

c e n t u r y . A n o t h e r C l u n i a c e x a m p l e is t h e c o m b i n e d n o t e d b r e v i a r y - m i s s a l of L e w e s , f r o m the t h i r t e e n t h c e n t u r y , C a m b r i d g e , F i t z w i l l i a m M u s e u m 369. A l t h o u g h a t h i c k b o o k w i t h 517 f o l i o s , it u s e s a m i n u t e s c r i p t , p e r h a p s so t h a t it w o u l d be p o r t a b l e , f o r use as a correctorium (see Leroquais, 1935; w h e n t h e p r i o r of L e w e s v i s i t e d o t h e r E n g l i s h C l u n i a c h o u s e s H o l d e r , 1985). A n o t h e r C l u n i a c c o m b i n e d breviary-missal, 1964.) (see The (997

w i t h o u t n o t a t i o n , has s u r v i v e d f r o m P o n t e f r a c t o r W e n l o c k : L o n d o n , B r i t i s h L i b r a r y , A d d . 4 9 3 6 3 . ( F o r a f u r t h e r n o t e d b r e v i a r y - m i s s a l , n o t C l u n i a c , see S a l m o n of t h e Cistercian exemplar survives i n D i j o n , Bibliotheque T h e n e w e r r e l i g i o u s o r d e r s also e s t a b l i s h e d m a s t e r e x e m p l a r s of t h e i r l i t u r g y . P a r t M u n i c i p a l e 114 C h o i s s e l e t a n d V e r n e t 1989, p i . 1 a f t e r p . 5 2 f o r t h e o r i g i n a l l i s t of c o n t e n t s ) .

master e x e m p l a r for the w h o l e D o m i n i c a n order still survives i n R o m e , S a n t a S a b i n a X I V . l i t . 1, t h e ' C o d e x of B l e s s e d H u m b e r t of R o m a n s ' . T h i s i m m e n s e b o o k f o l i o s m e a s u r i n g 48 X 3 2 c m . ) w a s c o m p i l e d r . 1 2 6 0 to c o d i f y t h e l i t u r g y r e v i s e d b y H u m b e r t of R o m a n s , m a s t e r - g e n e r a l of t h e o r d e r , 1 2 6 4 - 7 7 . L o n d o n , B r i t i s h L i b r a r y , Add. 23935 contains the same material ( m i n u s the o r d i n a l , b r e v i a r y , a n d private m i s s a l ) i n s m a l l f o r m a t , p r e s u m a b l y f o r use as a correctorium English province. T h e f o u r t e e n s e c t i o n s of t h e S a n t a S a b i n a m a n u s c r i p t are t i t l e d as f o l l o w s : Ordinarium Martyrologium Colleetarium Processionarium Psalterium Breviarium ( f o r p r i v a t e r e c i t a t i o n of t h e o f f i c e , w i t h only short lessons, psalm i n c i p i t s , a n d so o n ) L e c t i o n a r i u m (for the office) Antiphonarium Graduale P u l p i t a r i u m ( f o r o n e , t w o , o r f o u r f r i a r s , d e p e n d i n g o n t h e l i t u r g i c a l g r a d i n g of t h e services, i n t h e p u l p i t i n m i d - c h o i r ; it c o n t a i n s i n v i t a t o r i e s , r e s p o n s o r y (for H i g h Mass) verses, g r a d u a l v e r s e s , t r a c t s , a n d the L i t a n y of t h e S a i n t s ) Missale conventuale Epistolarium Evangelistarium M i s s a l e m i n o r u m a l t a r i u m (for p r i v a t e masses) F r o m the same c e n t u r y three other E n g l i s h monastic c o m p e n d i a have s u r v i v e d . C a m b r i d g e , U n i v e r s i t y L i b r a r y I i . 4 . 2 0 is a c o m b i n e d b r e v i a r y - m i s s a l f r o m E l y (Benedictine). T h e t w o o t h e r s are f u l l y o r a l m o s t f u l l y n o t e d . T h e best k n o w n is o n visitations i n the

Worcester,

C a t h e d r a l C h a p t e r L i b r a r y F . 160, substantial p o r t i o n s of w h i c h were (Temporale)

p u b l i s h e d i n f a c s i m i l e i n P a l M u s 12. T h e s e c t i o n s o f t h e m a n u s c r i p t a r e : antiphoner Venites processional antiphoner (Sanctorale, C o m m u n e S a n c t o r u m , O f f i c e of t h e D e a d ) M a g n i f i c a t a n d Benedictus tones (an a d d e d section of the f o u r t e e n t h c e n t u r y w i t h the office of the V i s i t a t i o n of the BVM kalendar psalter w i t h canticles, litany, a n d collects hymnal collectar Kyries and Glorias gradual s e q u e n t i a r y ( m o s t l y lost) Sanctus and A g n u s Laudes regiae mass ordinal F o r t h e p e r f o r m a n c e of t h e l i t u r g y o n l y the p r a y e r s a n d lessons f o r mass a n d the lessons of the office w o u l d be r e q u i r e d i n a d d i t i o n to this. The principal contents of London, British Library, A d d . 35285, from the A u g u s t i n i a n p r i o r y at G u i s b o r o u g h , n o r t h Y o r k s h i r e , are as f o l l o w s : tonary missal (without kalendar psalter ( b e g i n n i n g lost) four ordines f r o m the rituale Venites antiphoner (Sanctorale a n d C o m m u n e office lectionary tonary processional P o s s i b l y several o r i g i n a l l y separate codices were here b o u n d together. T h e s t i m u l u s to make a complete copy of a c h u r c h ' s chant repertory m i g h t come f r o m a l i t u r g i c a l o r i n s t i t u t i o n a l r e f o r m , s u c h as t h e r e b u i l d i n g o f t h e c h u r c h i n q u e s t i o n . T h i s w a s t h e case at P i a c e n z a , f o r e x a m p l e , w h e r e a f t e r t h e c a t h e d r a l h a d b e e n r e b u i l t , t h e c o m p e n d i u m P i a c e n z a , B i b l i o t e c a C a p i t o l a r e 65 w a s c o p i e d f r o m 1 1 4 2 o n w a r d . T h i s c o n t a i n s a t o n a r y a n d t h e o r e t i c a l m a t e r i a l , sets o f t o n e s f o r o f f i c e a n d mass p s a l m o d y , a psalter, h y m n a l , a n t i p h o n e r , g r a d u a l , a n d c o l l e c t i o n s of tropes a n d s e q u e n c e s (see G r e g o i r e 1 9 6 8 , 5 5 7 ; R I S M B/III/2, 7 9 ; H u g l o 1 9 7 1 , Tonaires, etc.). 174, Sanctorum) notation) and Corpus Christi)

III.12.

P O N T I F I C A L S

A N D

R I T U A L S

(i) Pontificals and Benedictionals (ii) R i t u a l s , M a n u a l s , or A g e n d a (i) Pontificals and Benedictionals V o g e l 1986, 225-71.

[ H i l e y ] : ' P o n t i f i c a l ' , NG;

P o n t i f i c a l s are b o o k s c o n t a i n i n g t h e t e x t s f o r s e r v i c e s p e r f o r m e d b y a b i s h o p o u t s i d e mass and the office: dedication of the church, confirmation, ordination and c o n s e c r a t i o n s , b l e s s i n g s of s a c r e d o b j e c t s , the s a c r i n g a n d c r o w n i n g o f m o n a r c h s , a n d so o n . C h a n t s are s u n g at t h e s e c e r e m o n i e s t h e s e r i e s of a n t i p h o n s s u n g d u r i n g t h e l e n g t h y c e r e m o n y f o r t h e d e d i c a t i o n of a c h u r c h are n o t a b l e a n d t h e s e are f r e q u e n t l y n o t a t e d i n p o n t i f i c a l s . S e v e r a l o f t h e earliest e x a m p l e s of n e u m a t i c n o t a t i o n s u r v i v e i n pontificals, for they were often splendidly decorated and carefully preserved early times. T h e e a r l y d e v e l o p m e n t of t h e p o n t i f i c a l has b e e n i l l u m i n a t e d b y R a s m u s s e n ( 1 9 7 8 ) a n d its h i s t o r y d e s c r i b e d b y V o g e l , w i t h e m p h a s i s o n t h e d e v e l o p m e n t of t h e R o m a n G e r m a n t y p e first c o m p i l e d at S t A l b a n s a b b e y , M a i n z , i n t h e 9 5 0 s a n d a d o p t e d i n R o m e w i t h i n a few years u n d e r i m p e r i a l i n f l u e n c e . (See the e d i t i o n s b y V o g e l a n d E l z e , 1963, a n d A n d r i e u 1 9 3 8 - 4 1 . F o r d e s c r i p t i o n s of p o n t i f i c a l s i n F r e n c h l i b r a r i e s see L e r o q u a i s 1 9 3 7 ; f o r E n g l i s h o n e s see F r e r e 1 9 0 1 ; the t e x t s of n u m e r o u s p o n t i f i c a l s h a v e b e e n e d i t e d , p a r t i c u l a r l y i n t h e series of t h e H e n r y B r a d s h a w S o c i e t y . ) O n e s p e c i a l a c t i o n of a b i s h o p w a s to p r o n o u n c e a b l e s s i n g at M a s s a f t e r t h e L o r d ' s P r a y e r a n d b e f o r e Pax domini semper vobiscum. C o l l e c t i o n s of t h e s e benedictions Some h a v e b e e n p r e s e r v e d f r o m t h e M i d d l e A g e s , i n b o o k s k n o w n as b e n e d i c t i o n a l s . DACL; from

b e n e d i c t i o n a l s f o r the use of a b b o t s have also s u r v i v e d . (See B a u d o t , ' B e n e d i c t i o n n a i r e ' , e d i t i o n s b y M o e l l e r 1 9 7 1 - 9 , a n d s e v e r a l v o l u m e s i n t h e s e r i e s of t h e H e n r y Bradshaw Society.)

( i i ) Rituals,

Manuals,

or

Agenda

G y 1960; V o g e l 1986, 2 5 7 - 6 4 ( w i t h list of editions). T h e c o u n t e r p a r t of t h e p o n t i f i c a l f o r p r i e s t s is the r i t u a l o r m a n u a l , w h i c h c o n t a i n s the m a t e r i a l for n o n - e p i s c o p a l f u n c t i o n s outside mass a n d the office. P r o m i n e n t a m o n g t h e f o r m u l a r i e s are b e n e d i c t i o n s of a l l sorts a n d t h e s e r v i c e s f o r b a p t i s m , and burial. Early rituals are often found in combination with sacramentaries, marriage, or collectars

w h i c h g a v e t h e t e x t s to be r e c i t e d b y the p r i e s t d u r i n g t h e o f f i c e or at

m a s s r e s p e c t i v e l y . S o m e r i t u a l s r e f l e c t i n g m o n a s t i c use also s u r v i v e .

II 1.13.

O R D I N A L S

A N D C U S T O M

A R I E S

N e i t h e r m e d i e v a l n o r m o d e r n n o m e n c l a t u r e is c o n s i s t e n t o n t h i s p o i n t , b u t a g e n e r a l d i s t i n c t i o n m a y b e m a d e b e t w e e n (i) o r d i n a l s , w h i c h r e g u l a t e t h e p e r f o r m a n c e o f t h e l i t u r g y , s p e c i f y w h i c h i t e m s are t o b e p e r f o r m e d a n d s o m e t i m e s t h e m a n n e r o f t h e i r performance (singers i n v o l v e d , position, etc.), a n d (ii) customaries, monastic. T h e ordinal may give invaluable i n f o r m a t i o n about w h i c h regulate t h e a d m i n i s t r a t i v e o r g a n i z a t i o n a n d w a y of l i f e of a r e l i g i o u s c o m m u n i t y , s e c u l a r o r t h e r e p e r t o r y of a particular c h u r c h , a n d m a y even contain notated chant details affecting performance. the cantor a n d singers. M o s t s u r v i v i n g o r d i n a l s date f r o m t h e t h i r t e e n t h c e n t u r y o r l a t e r . T h i s is also t h e period when service-books were first regularly provided with copious rubrics g o v e r n i n g t h e p e r f o r m a n c e of t h e l i t u r g y , a n d it is n o d o u b t s y m p t o m a t i c o f a g e n e r a l d e s i r e t o c o d i f y a s p e c t s of t h e l i t u r g y p r e v i o u s l y left t o t h e p r a c t i c a l k n o w l e d g e of those i n v o l v e d . N o d i s t i n c t i o n i s m a d e b e t w e e n c u s t o m a r i e s a n d o r d i n a l s i n t h e h a n d l i s t of s o u r c e s f o r o v e r 120 i n s t i t u t i o n s l i s t e d i n Le Graduel romain I I , 1 8 9 - 9 6 . O t h e r s are g i v e n b y H a n g g i (1957, x x v - x x x v i ) a n d J a c o b (1970). A m o n g m o d e r n editions those i n the series C o r p u s c o n s u e t u d i n u m m o n a s t i c a r u m ( C C M ) a n d H e n r y B r a d s h a w S o c i e t y a r e the m o s t i m p o r t a n t . S e e also A n g e r e r ( 1 9 7 7 ) a n d F a s s l e r (1985). i n c i p i t s , as w e l l as g i v i n g

S p e c i a l i t e m s s u c h as l i t u r g i c a l d r a m a s , o r t h e use of

p o l y p h o n y , m a y b e d e s c r i b e d . T h e c u s t o m a r y m a y e x p l a i n t h e d u t i e s a n d t r a i n i n g of

III.14.

T O N A R I E S

(i) D e f i n i t i o n a n d F u n c t i o n (ii) T y p e - M e l o d i e s for the E i g h t M o d e s (iii) H o w P s a l m T o n e s were Specified H u g l o 1971, Tonaires\

M O D E R N E D I T I O N S

Bailey 1974; H u g l o , ' T o n a r y ' ,

O F M E D I E V A L T O N A R I E S :

NG.

(i)

manuscripts:

L e i p z i g , U n i v e r s i t a t s b i b l i o t h e k 1492 (15th-c. copy of a R e i c h e n a u e x e m p l a r of c . 1 0 7 5 ) : Sowa 1935 M e t z , B i b l i o t h e q u e M u n i c i p a l e 351 ( M e t z , 9th c . ) : L i p p h a r d t 1965 Naples, Biblioteca Nazionale V I I I . D . 14 ( A u v e r g n e , 12th c . ) : D M A A . I Paris, B i b l i o t h e q u e N a t i o n a l e , lat. 1118 ( A u c h ? , late 10th c.) a n d 1121 ( L i m o g e s , early 11th c ) : C . T . Russell 1966 Paris, B i b l i o t h e q u e N a t i o n a l e , lat. 12050 ( C o r b i e , 9th c ) : reconstructed i n AMS, c x x i i i c x x v i ; cf. the reconstruction co-ordinated w i t h the M o n t - R e n a u d m a n u s c r i p t and L a o n , B i b l i o t h e q u e M u n i c i p a l e 118 in H u g l o 1971, Tonaires, 94-101 Paris, B i b l i o t h e q u e N a t i o n a l e , lat. 13159 (for S a i n t - R i q u i e r , late 8 t h or 9 t h c . ) : H u g l o 1952, ' T o n a i r e ' , H u g l o 1971, Tonaires, 2 6 - 8 , Planer 1970

R o m e , Biblioteca A p o s t o l i c a Vaticana, P a l . lat. 1346 ( G e r m a n , 12th 13th c ) : D o n a t o 1978 St G a l l , S t i f t s b i b l i o t h e k , 3 9 0 - 3 9 1 (St G a l l , late 10th c ) : facs. P a l M u s II/l various S a r u m sources: F r e r e 1898-1901 T o n a r i e s c o m p i l e d f r o m the contents of medieval antiphoners were p u b l i s h e d i n P a l M u s 9 and 12 and U d o v i c h 1985 (ii) theorists: pseudo-St B e r n a r d of C l a i r v a u x : Tonale 1154 ff. Berno of R e i c h e n a u : G S i i . 7 9 - 9 1 F r u t o l f of M i c h e l s b e r g : V i v e l l 1919 sancti Bernardi: G S ii. 265-77; P L 182,

Jerome of M o r a v i a : C S I . 1 - 9 4 ; Cserba 1935 J o h n ('Cotton or 'of A f f l i g h e m ' or of Passau): C S M 1; trans. B a b b 1978 O d o of A r e z z o : G S i . 2 4 8 - 8 ( i n t r o d u c t i o n ) ; C S i i . 8 1 - 1 0 9 O d o r a n n u s of S e n s : B a u t i e r et al. 1972 Petrus de C r u c e of A m i e n s : C S i . 2 6 2 - 8 ; C S M 29 p s e u d o - O d o i n S a i n t - D i e , B i b l i o t h e q u e M u n i c i p a l e 42 ( F r a n c i s c a n , 14th c . ) : C S i i . 1 1 7 42 R e g i n o of P r u m : C S i i . 3 - 7 3 R u d o l f of S a i n t - T r o n d or F r a n c o of L i e g e : Quaestiones in rnusica: S t e g l i c h 1911 W a l t e r O d m g t o n : C S i . 1 8 2 - 2 5 0 ; C S M 14 ~

(i) Definition

and

Function a n d , s o m e t i m e s l a t e r , tonale, are t h e m e d i e v a l t e r m s e m p l o y e d ) is

A t o n a r y (tonarius

a l i s t o r series of c h a n t s i n t o n a l o r d e r . T h e earliest of t h e m , f r o m t h e late e i g h t h a n d n i n t h c e n t u r i e s , are as o l d as a n y l i t u r g i c a l b o o k s of c h a n t t e x t s . B e i n g a n a b s t r a c t i o n f r o m everyday musical practice, t h o u g h frequently serving a practical need, they were o f t e n c o m p i l e d b y t h e o r i s t s w h o are k n o w n also f o r o t h e r t h e o r e t i c a l w r i t i n g s . I n tonaries chants i n the same m o d e were listed i n series, d i s t u r b i n g the o r d e r i n w h i c h t h e y w o u l d h a v e b e e n s u n g i n t h e c h u r c h y e a r . It w a s p a r t i c u l a r l y c o m m o n to make l i s t s of p i e c e s s u n g w i t h p s a l m verses: i n t r o i t s a n d c o m m u n i o n s of mass, a n t i p h o n s of t h e o f f i c e . A f u r t h e r s u b d i v i s i o n of t h e series w a s u s u a l l y e f f e c t e d , so t h a t t h o s e p i e c e s w e r e g r o u p e d t o g e t h e r w h i c h r e q u i r e d the s a m e c a d e n c e ( d i f f e r e n t i a ) f o r t h e i r p s a l m v e r s e ( s ) . E x . I I I . 1 4 . 1 , a n e x t r a c t f r o m the t o n a r y i n P a r i s , B i b l i o t h e q u e N a t i o n a l e , l a t . 7 7 6 , s h o w s h o w the series w e r e u s u a l l y p r e s e n t e d . T h e m a n u s c r i p t has l i s t e d c h a n t s i n t h e first t w o m o d e s , a n d has n o w b e g u n a s e r i e s f o r m o d e 3 . A t o n e f o r s i n g i n g t h e G l o r i a p a t r i i s c o p i e d ( g i v e n at the start of E x . I I I . 1 4 . 1 ) , f o l l o w e d b y t h e i n c i p i t s of fifty-nine o f f i c e a n t i p h o n s . E x . I I I . 14.1 g i v e s t h e last e i g h t of t h i s s e r i e s , ecce arma. T h e r e f o l l o w t h e first e i g h t e x a m p l e s f o r t h e s e c o n d s t a r t i n g w i t h Tenernus

' v a r i e t a s ' , a n d a l l the i n c i p i t s f o r t h e o t h e r t h r e e sets. S u c h l i s t s are f o u n d i n a great v a r i e t y of s o u r c e s . T h e c h i e f c o n t e n t s of P a r i s 7 7 6 , f r o m w h i c h E x . I I I . 14.1 is t r a n s c r i b e d , are a g r a d u a l ; t o n a r i e s w e r e o f t e n c o p i e d i n o t h e r s u c h l i t u r g i c a l m u s i c b o o k s , as f o r e x a m p l e i n :

14.

Tonaries

327
r

E x . I I I . 14.1. Extract f r o m a tonary, part of the t h i r d tone (Paris, B i b l . N a t . lat. 776, fo. 152 )
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M o n z a , B a s i l i c a S . G i o v a n n i C . 12/75 ( g r a d u a l a n d a n t i p h o n e r , M o n z a , e a r l y 1 1 t h c.) London, British Library, A d d . 30850 (monastic antiphoner, Santo Domingo de S i l o s , e a r l y 1 2 t h c . ; f a c s i m i l e Antiphonale Silense) (1057 unique) the

E i c h s t a t t , B i s c h o f l i c h e s O r d i n a r i a t s a r c h i v , p o n t i f i c a l of B i s h o p G o n d e k a r I I 75) ( t h e i n c l u s i o n of a t o n a r y i n a p o n t i f i c a l is a l t o g e t h e r M a n y tonaries appear i n tropers, m u s i c i a n w i t h special skills and interests: P a r i s , B i b l i o t h e q u e N a t i o n a l e , l a t . 1118 ( A u c h ? , late 1 0 t h Bamberg, Statsbibliothek, lit. 5 (Reichenau, 1001) M a d r i d , B i b l i o t e c a N a t i o n a l 288 ( P a l e r m o , r . 1 1 0 0 ) c.)

i n d i c a t i n g their place a m o n g material for

S e v e r a l a u t h o r s of t h e o r e t i c a l t r e a t i s e s also c o m p i l e d t o n a r i e s . R e g i n o , a b b o t

of

P r u m a n d l a t e r of S t M a r t i n i n T r i e r , w r o t e a treatise a n d t o n a r y c . 9 0 1 f o r A r c h b i s h o p R a d b o d of T r i e r , i n t h e f o r m of a l e t t e r to R a d b o d . R e g i n o ' s is t h e first t o n a r y b y a k n o w n a u t h o r . T h e t r e a t i s e of B e r n o , a b b o t of R e i c h e n a u 1 0 0 8 - 4 8 , w a s w r i t t e n f o r A r c h b i s h o p P i l g r i m of C o l o g n e ( 1 0 2 1 - 3 6 ) . It m a y be p o i n t e d o u t , i n v i e w of t h e c o n f u s i o n p r e s e n t i n t h e o l d e r l i t e r a t u r e , t h a t O d o , a b b o t of a m o n a s t e r y i n A r e z z o i n t h e late t e n t h c e n t u r y , d o e s n o t c o m e i n t o t h i s c a t e g o r y . O d o a p p e a r s to h a v e b e e n t h e a u t h o r of the m o s t w i d e l y k n o w n of I t a l i a n tonaries ( C S i i . 7 8 - 1 0 9 , e d i t e d f r o m P a r i s , B i b l i o t h e q u e N a t i o n a l e , lat. 10508, f r o m Saint-Evroult, archetype). twelfth century, unfortunately a version far removed from de the B u t h e d i d n o t c o m p o s e t h e w e l l - k n o w n t r e a t i s e Dialogus rnusica Tonaires, Such on a the

(written by an a n o n y m o u s m o n k i n n o r t h Italy, early eleventh c e n t u r y ; G S i . 2 5 2 6 4 ) . T h e t o r t u o u s h i s t o r y of t h e s e t e x t s w a s e l u c i d a t e d b y H u g l o ( 1 9 7 1 , practice Musica of including tonaries in compilations brevis, Alia of theoretical and writings. a treatise 1 8 2 - 2 2 4 , a n d 1 9 6 9 ) . T h e m i s a t t r i b u t i o n s so r i f e i n t h i s case r e s u l t f r o m t h e c o m m o n c o m p i l a t i o n is M u n i c h , B a y e r i s c h e S t a a t s b i b l i o t h e k , e l m 1 4 2 7 2 , c o n t a i n i n g B o e t h i u s , enchiriadis, Commemoratio rnusica, m o n o c h o r d , as w e l l as a t o n a r y ( S t E m m e r a m at R e g e n s b u r g , m i d e l e v e n t h c e n t u r y ) . T h e o r i s t s w h o d i s c u s s the e i g h t - m o d e system f r e q u e n t l y cite e x a m p l e s , w h i c h m a y amount almost to a s m a l l t o n a r y i n t h e m s e l v e s , t h o u g h rarely g i v i n g the enchiriadis actual r e c i t a t i o n t o n e s . T h e c e l e b r a t e d a n o n y m o u s treatise Musica mode. T h e tenth-century b i b l i o t h e k 79, H u g l o 1 9 7 1 , Tonaires, E i n s i e d e l n s o u r c e of t h e Enchiriadis, (north-east

F r a n c e , late n i n t h c e n t u r y ) , f o r e x a m p l e , g i v e s t h e i n c i p i t of j u s t o n e a n t i p h o n p e r E i n s i e d e l n , Stifts(see t h e n t a k e s t h e step of a t t a c h i n g a p r o p e r t o n a r y to t h e treatise

6 2 ) o r o n e m i g h t say t h a t the treatise has b e e n b r o u g h t i n as de rnusica are

a p r e f a c e f o r t h e t o n a r y , s i n c e m a n y t o n a r i e s c a r r y a n i n t r o d u c t o r y text e x p l a i n i n g the m o d e s . ( F o r a n o t h e r e x a m p l e , w h e r e passages of the treatise Dialogus drafted century Dialogus into the tonary of the fifteenth-century antiphoner Utrecht Utrecht Tonaires, 406 B i b l i o t h e e k d e r R i j k s u n i v e r s i t e i t 4 0 8 , see H u g l o 1971, tonary i n the Utrecht antiphoner Utrecht, the

183. T h e t w e l f t h -

borrows from both

a n d B e r n o of R e i c h e n a u : see H u g l o 1971, Tonaires,

203.) E v e n c l o s e r to the

t o n a r y i n s p i r i t is t h e Commemoratio

brevis

( e d . B a i l e y 1 9 7 9 ) , 'a v e r i t a b l e t r e a t i s e o n 64). and each

p s a l m o d y ' , as H u g l o p u t s it ( 1 9 7 1 , Tonaires,

O n e c o m m o n l y a d d u c e d r e a s o n f o r t h e c o m p i l a t i o n of t h e s e l i s t s of c h a n t s i n t o n a l o r d e r is t h a t t h e y w e r e a c o n v e n i e n t c o d i f i c a t i o n , f o r t h e p u r p o s e s o f r e f e r e n c e l e a r n i n g , of t h e t o n e a n d d i f f e r e n t i a to be u s e d w h e n s i n g i n g a p s a l m w i t h

a n t i p h o n l i s t e d . G i v e n t h e h u g e n u m b e r of a n t i p h o n s u s e d d u r i n g t h e l i t u r g i c a l y e a r ( 3 , 0 0 0 o r m o r e ) , a n d t h e r e s t r i c t e d n u m b e r of t o n e s a n d e n d i n g s ( a r o u n d f o r t y ) , it is n o t s u r p r i s i n g t h a t m u s i c i a n s felt t h e n e e d to set d o w n i n s o m e c o n v e n i e n t f o r m t h e d e c i s i o n s a b o u t i n t o n a t i o n s w h i c h t h e y w e r e a c c u s t o m e d to t a k i n g . B u t t h i s s i m p l e e x p l a n a t i o n is n o t a d e q u a t e f o r a l l t y p e s of t o n a r y . T h e o r d e r i n w h i c h t h e c o m p i l e r of a t o n a r y e n c o u n t e r e d t h e c h a n t s w o u l d h a v e been a l i t u r g i c a l one. M o s t tonaries, once they have b r o k e n d o w n the o r i g i n a l o r d e r into g r o u p s b y tone a n d differentia, disturb the l i t u r g i c a l o r d e r no f u r t h e r . w i t h i n each g r o u p there remains a liturgical succession. t w o a n t i p h o n s u n d e r t h e t h i r d d i f f e r e n t i a (or diffinitio, tone 3 ( t a k e n f r o m e d n . b y L i p p h a r d t , 1965, chant: 4th Sunday i n A d v e n t navim 4 t h S u n d a y after E p i p h a n y 3 r d S u n d a y of Q u a d r a g e s i m a 3 r d S u n d a y of Q u a d r a g e s i m a I n v e n t i o S . C r u c i s (3 M a y ) adoramus servabatur viderunt illis et est bonus me me mori inventus et fidelis* lege Dei fecit sui I n v e n t i o S . C r u c i s (3 M a y ) S t P e t e r (29 J u n e ) S t P e t e r (29 J u n e ) Easter Sunday Easter Easter Easter Easter M o n d a y 1st S u n d a y a f t e r 2 n d S u n d a y after 2 n d S u n d a y after Pentecost Sunday Palm Sunday S t G e o r g e (23 A p r . ) turris V i g i l of A l l S a i n t s (31 Confessors a Martyr de libro Martyrs first follows the year f r o m A d v e n t ta Judith Pentecost 2 n d S u n d a y after Oct.) in Dei bona 34-5; a p p e n d e d the l i t u r g i c a l occasion for each Tu Fac Bethleem Ihesu in benigne vite crucem autem cum quida?n Thus F o r e x a m p l e , the n i n t h -

c e n t u r y M e t z t o n a r y M e t z , B i b l i o t h e q u e M u n i c i p a l e 351, lists the f o l l o w i n g t w e n t y as t h e m a n u s c r i p t c a l l s it) o f * denotes addition). I have

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m i d s u m m e r , the s e c o n d g o e s b a c k to E a s t e r a n d c o n t i n u e s t o P e n t e c o s t , a n d t h e t h i r d

doubles back again, to P a l m S u n d a y . ( T h e two a d d e d a n t i p h o n s are s l i g h t l y o u t of p l a c e : Seiue bone, f o r C o n f e s s o r s , s h o u l d f o l l o w a n t i p h o n s f o r M a r t y r s , a n d t h e last T h e three g r o u p s appear to b e d i s t i n g u i s h e d b y a n t i p h o n s h o u l d f o l l o w Iste sanctus.) their openings: G ab b, G a Gb b, e t c . G G Gc a G, e t c . a m i x t u r e of t h e t w o p r e v i o u s ? There is a certain s m a l l disadvantage i n retaining a liturgical order w i t h i n the

various groups of chants,

f o r it is n o t a l w a y s easy t o l o c a t e a n y o n e p i e c e , at least

w i t h i n very b i g series like those f o r tone 1 a n d tone 8. A n alphabetic o r d e r w o u l d b e m o r e useful if a l i t t l e - k n o w n chant were b e i n g sought. H o w e v e r , m e d i e v a l m u s i c i a n s s e e m n o t t o h a v e felt a n e e d f o r t h i s , f o r o n l y i n R e i c h e n a u s o u r c e s w a s i t a d o p t e d : Bamberg, Staatsbibliothek, l i t . 5 (written 1001); the tonary of B e r n o of R e i c h e n a u copy (ed. Vienna, ( s e c o n d q u a r t e r o f e l e v e n t h c e n t u r y ) ; a n d t h e t o n a r y o f c. 1075, n o t a t e d i n H e r m a n n u s Contractus' interval notation, n o w surviving only i n a fifteenth-century Sowa 1 9 3 5 ; see H u g l o 1 9 7 1 , Tonaires, 254). ( O n e version of B e r n o , H u g l o 1 9 7 1 , Tonaires, 272.)

N a t i o n a l b i b l i o t h e k 1 8 3 6 , f r o m A u s t r i a , e l e v e n t h to t w e l f t h c e n t u r y , a c t u a l l y r e s t o r e s the a n t i p h o n s t o t h e i r l i t u r g i c a l o r d e r s e e P e r h a p s , t h e n , t h e t o n a r y i s n o t so m u c h a r e f e r e n c e b o o k f o r l o c a t i n g t h e o d d t r o u b l e s o m e i t e m as a c h e c k - l i s t t o a i d t h e r e h e a r s a l o f p i e c e s w i t h s i m i l a r m u s i c a l characteristics. F e w tonaries a t t e m p t the classification of all the a n t i p h o n s of the year, and most contain only short lists, citing only a few dozen chants f r o m the bigger g r o u p s a n d o n l y a h a n d f u l o f t h e less c o m m o n v a r i e t i e s . T h u s the m a j o r i t y o f t o n a r i e s , of t h e s h o r t t y p e , s e r v e n e i t h e r t o s p e c i f y t o n e s f o r t h e w h o l e a n t i p h o n r e p e r t o r y , n o r to c l a s s i f y m e l o d i e s i n t o m e l o d i c f a m i l i e s ; t h e i r m o r e m o d e s t a i m s e e m s t o b e s i m p l y to r e m i n d m u s i c i a n s o f t h e m e l o d i c i d i o m s of t h e m a i n f a m i l i e s . T h e f u n c t i o n o f s p e c i f y i n g t o n e s w a s i n a n y case c a r r i e d o u t e f f e c t i v e l y b y o t h e r m e a n s below). The m a j o r i t y of tonaries c o n t a i n lists o f a n t i p h o n s . A s i g n i f i c a n t n u m b e r are s o m e t i m e s have introits a n d c o m m u n i o n s , a n d responsories i n c l u d e d f o r they t o o (see ( i i i )

h a v e a set o f e l a b o r a t e v e r s e t o n e s . B u t it is c l e a r f r o m e v e n t h e e a r l i e s t t o n a r y t h a t m o r e w a s i n v o l v e d i n t h e i r c o m p i l a t i o n t h a n the a s s i g n a t i o n o f p s a l m t o n e s , f o r s e v e r a l c o n t a i n c h a n t s t h a t d o n o t h a v e p s a l m verses. T h u s P a r i s , B i b l i o t h e q u e N a t i o n a l e , l a t . 1 3 1 5 9 , f r o m S a i n t - R i q u i e r i n t h e late e i g h t h ( H u g l o 1 9 5 2 , ' T o n a i r e ' , Tonaires, 2 5 - 9 ) o r early n i n t h century (Planer a n d 1971, 1970), has a f e w examples i n each

m o d e o f the f o l l o w i n g c a t e g o r i e s : i n t r o i t , g r a d u a l , a l l e l u i a , o f f e r t o r y , a n d c o m m u n i o n . T h i s s o u r c e s e e m s t o b e i n t e n d e d as a d e m o n s t r a t i o n o f t h e e i g h t m o d e s , r a t h e r t h a n as a c a t a l o g u e o f t o n e s . P a r i s , B i b l i o t h e q u e N a t i o n a l e , l a t . 7 8 0 ( N a r b o n n e , late t w e l f t h c e n t u r y ) has alleluias, offertories, invitatories, and processional a n t i p h o n s beside t h e more usual chants. T h e extensive listings i n M o n t e c a s s i n o , A r c h i v i o della B a d i a 318 (Montecassino, twelfth century) even include sequences (studied b y B r u n n e r 1981). I n such sources one m a y discern a didactic or scholarly intention beyond the

s p e c i f i c a t i o n of p s a l m t o n e s . A n a l t o g e t h e r e x c e p t i o n a l c o m p i l a t i o n w h i c h s h a r e s t h i s c h a r a c t e r is t h e f a m o u s ' D i j o n t o n a r y ' , p o s s i b l y i n p a r t t h e w o r k of W i l l i a m of D i j o n (ci. 1 0 3 1 ) , M o n t p e l l i e r , F a c u l t e de M e d e c i n e H . 159 ( f a c s . P a l M u s 8 ; e d n . H a n s e n 1974). I n t h i s s o u r c e , after a short tonary for a n t i p h o n s a n d r e s p o n s o r i e s , a c o m p l e t e r e p e r t o r y of c h a n t s f o r t h e p r o p e r of m a s s is c o p i e d i n f u l l . T h e p i e c e s a p p e a r i n t h e following order: i n t r o i t s a n d c o m m u n i o n s : m o d e s 1 to 8 (that i s , i n t r o i t s m o d e 1, c o m m u n i o n s m o d e 1, i n t r o i t s m o d e 2, c o m m u n i o n s m o d e 2, a l l e l u i a s : m o d e s 1 to 8 tracts: m o d e 8 g r a d u a l s : m o d e s D to G ( n o s e p a r a t i o n of a u t h e n t i c f r o m p l a g a l m o d e s ) o f f e r t o r i e s : as f o r g r a d u a l s tracts: mode 2 F o r t w o g r o u p s of p i e c e s , the r a n g e is s p e c i f i e d i n t h e m a r g i n , a n d t h e r e is also a n i n d i c a t i o n as to w h e t h e r t h e p i e c e uses B o r B b t h e s e are u n i q u e to t h i s s o u r c e . W i t h i n e a c h m o d a l g r o u p , t h e c h a n t s are o r d e r e d a c c o r d i n g to t w o m o r e c r i t e r i a : (i) a c c o r d i n g t o t h e i r s t a r t i n g n o t e , f r o m l o w e s t u p w a r d s ; ( i i ) t h e n , a c c o r d i n g to t h e i r h i g h e s t n o t e . T h i s r e m a r k a b l e m a n u s c r i p t m a y be r e g a r d e d as a m a s t e r c o p y of t h e repertory, of a special k i n d , o r g a n i z e d not a c c o r d i n g to l i t u r g i c a l p r i n c i p l e s b u t abstract m u s i c a l ones. T h e n a m e t o n a r y is also u s e d f o r a s i m p l e set of p s a l m t o n e s o r o t h e r t o n e s , w i t h o u t i n d i c a t i o n of any of the chants w h i c h c o n t r o l t h e i r use. etc.)

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T h e a i m of b r i n g i n g to m i n d s o m e of the c h a r a c t e r i s t i c m e l o d i c c o n t o u r s of m e l o d i e s i n a p a r t i c u l a r m o d e s e e m s also to lie b e h i n d t h r e e p e c u l i a r sets of c h a n t s k n o w n a l m o s t e x c l u s i v e l y f r o m t o n a r i e s a n d t h e o r e t i c a l s o u r c e s . T h e y are p l a c e d at t h e h e a d of e a c h g r o u p of a n t i p h o n s o r o t h e r c h a n t s i n a p a r t i c u l a r m o d e . 1. T h e 2. first, p a r t i c u l a r l y i n t r i g u i n g , set of p h r a s e s ( o n l y a b o u t a d o z e n n o t e s i n length) has p e c u l i a r p s e u d o - G r e e k texts: ' N o n a n o e a n e ' , ' N o e a g i s ' , etc. A s e c o n d set of l o n g e r m e l o d i e s r e s e m b l e s s i n g l e - p h r a s e a n t i p h o n s i n m e l o d i c quaerite regnum the Dei first ( ' F i r s t seek ye t h e text is Primum 6:5). 421. s t y l e , a n d t h e y h a v e L a t i n t e x t s w h i c h a l l u d e to t h e n u m b e r of t h e i r t o n a l g r o u p . T h u s for t o n e 1, t h e c h a n t u s u a l l y g i v e n is Primum Stiftsbibliothek mandatum 390-391 and related k i n g d o m of G o d ' , c f . M a t t . 6 : 3 6 ) . A d i f f e r e n t set of s u c h c h a n t s i s f o u n d i n S t G a l l , sources, where amor Dei est ( ' T h e first c o m m a n d m e n t is t h e l o v e of G o d ' , c f . D e u t . Tonaires,

A n o t h e r set f o u n d i n l a t e r G e r m a n s o u r c e s is g i v e n i n H u g l o 1 9 7 1 , 3. F i n a l l y , b o t h the L a t i n a n d the p s e u d o - G r e e k c h a n t s ' n e u m a ' see b e l o w , I V . I . i i i . )

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E x . I I I . 1 4 . 2 is a t r a n s c r i p t i o n of a l l t h r e e sets of m e l o d i e s as t h e y a p p e a r i n t h e e a r l y t e n t h - c e n t u r y L i m o g e s t r o p e r P a r i s , B i b l i o t h e q u e N a t i o n a l e , lat. 1 1 2 1 . T h e n e u m a is a t t a c h e d to b o t h t h e p s e u d o - G r e e k a n d the L a t i n p i e c e s . A f t e r e a c h b a t c h o f t y p e m e l o d i e s c o m e s a set o f a n t i p h o n , r e s p o n s o r y , i n t r o i t , a n d c o m m u n i o n i n c i p i t s . B a i l e y , w h o has s t u d i e d a n d m a d e a c r i t i c a l e d i t i o n of a l l the t h r e e sets o f t y p e melodies from a comprehensive range of s o u r c e s , dates the i n t r o d u c t i o n of the p s e u d o - G r e e k p h r a s e s to t h e e a r l y n i n t h c e n t u r y (see B a i l e y , 1974, 5 - 8 ) , and believes

( w i t h o t h e r s c h o l a r s ) t h a t t h e y are of B y z a n t i n e o r i g i n . A u r e l i a n of R e o m e , w h o is t h e f i r s t to m e n t i o n t h e m , i n t h e m i d n i n t h c e n t u r y , s p e a k s of t h e m as B y z a n t i n e ; a n d m e l o d i e s of r e m a r k a b l y s i m i l a r t y p e are k n o w n f r o m B y z a n t i n e s o u r c e s ( a l b e i t of the t w e l f t h c e n t u r y a n d l a t e r ) , the echemata H u g l o 1 9 7 1 , Tonaires, (see R a a s t e d 1966, a n d t h e p a r a l l e l c o p i e s i n 12). B a i l e y p o i n t s o u t t h a t t h e B y z a n t i n e 3 8 4 a n d B a i l e y 1974,

echemata

m i g h t be s u n g b y a cantor to b r i n g to m i n d the characteristic echemata.

melodic

i d i o m s of a m o d e , b e f o r e h e e m b a r k e d u p o n a l i t u r g i c a l i t e m ; a s i m i l a r f u n c t i o n m a y be i n t e n d e d f o r these W e s t e r n T h e n e u m a e are p r o b a b l y s l i g h t l y later i n date, w h i l e t h e L a t i n c o m p o s i t i o n s are not k n o w n f r o m earlier than the m i d tenth century. Of all the type-melodies, only the neumae were used l i t u r g i c a l l y , as s p e c i a l p r o l o n g a t i o n s of t h e a n t i p h o n s f o r t h e B e n e d i c t u s , M a g n i f i c a t , a n d Q u i c u n q u e v u l t , a n d f o r t h e f i n a l a n t i p h o n s of V e s p e r s , L a u d s , a n d t h e n o c t u r n s o f M a t i n s (see F r e r e 1898, i i . 2 0 9 , f o r the i n s t r u c t i o n i n S a r u m o r d i n a l s ) . I n t i m e they seem to have 3 8 9 ) . N o t s u r p r i s i n g l y , p e r h a p s , i n the context of a c q u i r e d a n a l m o s t m y s t i c a l s i g n i f i c a n c e , as r e p r e s e n t a t i o n s o f t h e ' b r e a t h ' o f t h e H o l y S p i r i t (see H u g l o 1 9 7 1 , Tonaires, e x t r a v a g a n t l i t u r g i e s of t h e l i e d e F r a n c e of t h e t w e l f t h a n d t h i r t e e n t h c e n t u r i e s , t h e y a c q u i r e d p r o s u l a texts a n d p o l y p h o n i c u p p e r voices ( m o t e t s i n the M o n t p e l l i e r a n d B a m b e r g m a n u s c r i p t s ) . N e w m e l o d i e s of s i m i l a r t y p e m i g h t e v e n b e c o m p o s e d . I n L a o n , B i b l i o t h e q u e M u n i c i p a l e 2 6 3 , c o n t a i n i n g a festal E p i p h a n y l i t u r g y , t h e k y r i a l e is p r e c e d e d b y a set o f t o n e s f o r t h e G l o r i a o f t h e i n t r o i t . T o e a c h t o n e a m e l i s m a i s a t t a c h e d , a n d t h e n t h e r e f o l l o w s a p r o s u l a f o r t h e m e l i s m a . E x . I I I . 14.3 g i v e s t h o s e f o r t o n e s 5 a n d 6 ( 1 - 5 are s h o r t , 6 - 8 l o n g ) .

( i i i ) How Psalm

Tones were

Specified

T h e t o n a r y i s o n l y o n e of s e v e r a l w a y s i n w h i c h t o n e s a n d d i f f e r e n t i a e w e r e c o d i f i e d . V e r y m a n y a n t i p h o n e r s a c t u a l l y c o p y after e a c h a n t i p h o n t h e start o r e n d i n g t o b e u s e d , o v e r s o m e a b b r e v i a t i o n of t h e ' G l o r i a p a t r i ' s u c h as 'e u o u a e' ( ' s E c U l O r U m A m E n ' ) , or s i m p l y ' A m e n ' . M a n y o l d sources use code n u m b e r s (I to V I I I ) o r letters to i n d i c a t e t h e s a m e t h i n g . F o r e x a m p l e , t h r e e g r a d u a l s o f t h e e a r l y t e n t h c e n t u r y , none o r i g i n a l l y i n t e n d e d to have notation, P a r i s , B i b l i o t h e q u e N a t i o n a l e lat. 12050 (Corbie), Mont-Renaud (Corbie, notated later in tenth century), and Laon, B i b l i o t h e q u e M u n i c i p a l e 118 ( S t D e n i s ) , use t h e f o l l o w i n g s y s t e m to i n d i c a t e t h e p s a l m tone to be u s e d f o r i n t r o i t a n d c o m m u n i o n ( c o m p l e t e i n t e g r a t e d lists i n H u g l o 1971, Tonaires, 94-101): A P or A P R P P , P L P , or P L P R AD P D or P L D ATr PTr ATD P T D or P 1 T D H u g l o 1 9 7 1 , Tonaires, = Authentus Protus = Plagalis Proti = Authentus Deuterus = Plagalis D e u t e r i = Authentus Tritus = Plagalis T r i t i = Authentus Tetrardus = Plagalis T e t r a r d i

A n i m p o r t a n t g r o u p of S w i s s sources (studied b y O m l i n , 1934, w i t h a d d i t i o n s b y 2 3 2 - 5 1 ) uses v o w e l s t o i n d i c a t e t h e t o n e s : a , e, i , o , u , H , y, Co, a n d c o n s o n a n t s f o r t h e d i f f e r e n t i a e : b , c, d , g , h , k, p , q . T h i s s y s t e m is f i r s t s e e n

334

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and

Plainchant

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v

E x . I I I . 1 4 . 3 . F r o m the G l o r i a tones ( L a o n , B i b l . M u n . 263, f o . 21 )

QUINTUS T O N U S

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se-cu-lorum A-

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glo-ri-o-sa

3 ^
uir-tutum a g - m i n a . SEXTUS TONUS Lo - que - bar. Le-ta re Ihe - ru-sa - lem.

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co-e-ternus e-ius fi - li -us hi tres u-nus Deus a quo cuncta salus perso-nis tribus

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est ui-gor u-nus

per quern u-ni-uersus

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su-per omoes Deus quique c o - l i - t u r

in s e - c u - l a

be-ne-dictus.

In

me - di-o

ec-cle-si-e.

i n t h e e a r l y e l e v e n t h c e n t u r y , i n t h e t o n a r y a t t a c h e d to H a r t k e r ' s a n t i p h o n e r ( S t G a l l , S t i f t s b i b l i o t h e k 3 9 0 - 3 9 1 c o p i e d , f o r t u n a t e l y b e f o r e H a r t k e r ' s w o r k lost m a n y in St G a l l 3 8 8 ) , t h e n i n m a n y later S t G a l l s o u r c e s , and books from pages, Rheinau,

E n g e l b e r g , E i n s i e d e l n , D i s e n t i s , a n d also f r o m c h u r c h e s i n s o u t h G e r m a n y , A u s t r i a , a n d n o r t h Italy. T h e system s u r v i v e d into the seventeenth century a n d was actually r e v i v e d i n t h e Antiphonale tions Benedictinae The monasticum secundum traditionem Helveticae Congregaof 1 9 4 3 . B i b l i o t h e q u e M u n i c i p a l e 47 ( c . 9 0 0 ) uses R o m a n as d o m a n y m e d i e v a l s o u r c e s . B u t it also uses a Huglo

Breton gradual Chartres,

n u m e r a l s to specify introit tones, ( 1 9 7 1 , Tonaires,

s h o r t h a n d m e t h o d of i n d i c a t i n g t h e m e l o d i c p e c u l i a r i t i e s of s o m e m e l o d i e s . 1058) e x p l a i n s t h e m o s t c o m m o n e n t r i e s as f o l l o w s :

15.

Identifying

and

Describing

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335

t h e l e t t e r s z, m, a n d ul r e f e r to t h e start ( i n i t i u m ' ) , i n t e r n a l c a d e n c e ( ' m e d i u m ' ) , a n d f i n a l s y l l a b l e ( ' u l t i m a ' ) of the c h a n t ; t h e m o d e i s t h e n s t a t e d , w i t h the w o r d s i ('in') o r em i ( ' e m i n e t i n ' = ' s t a n d s o u t as'). T h u s ' i e m i H I T m e a n s t h a t t h e c h a n t starts as a m o d e 4 p i e c e ; ' m i V I I ' m e a n s t h a t it h a s a n i n t e r n a l c a d e n c e s u g g e s t i n g m o d e 7. T h e r e are m a n y m e d i e v a l a n t i p h o n lists w h o s e c h i e f f u n c t i o n , b e s i d e s s p e c i f y i n g t h e s e l e c t i o n of c h a n t s f o r t h e l i t u r g i c a l y e a r , is t o c o d i f y t h e p s a l m t o n e s a n d e n d i n g s to b e u s e d . T h e s e are e a s i l y c o n f u s e d w i t h t o n a r y l i s t s , b u t t h e i r t r u e n a t u r e is c l e a r w h e n it is r e a l i z e d t h a t t h e c h a n t s are l i s t e d i n l i t u r g i c a l , n o t t o n a l o r d e r . ( S e e 1971, Tonaires, 22-3.) Huglo

I I I . 15.

I D E N T I F Y I N G

A N D D E S C R I B I N G

C H A N T - B O O K S

E a c h d i f f e r e n t t y p e of l i t u r g i c a l b o o k has its o w n c o n t e n t a n d c h a r a c t e r i s t i c s . W i t h o u t c l a i m i n g t o c o v e r a l l i m p o r t a n t p o i n t s , I a t t e m p t h e r e a b r i e f s u m m a r y of t h e f e a t u r e s of c h a n t - b o o k s w h i c h are c u s t o m a r i l y t h e o b j e c t of i n v e s t i g a t i o n , a n d o n w h i c h o n e h o p e s to f i n d i n f o r m a t i o n i n c a t a l o g u e s , i n v e n t o r i e s , a n d h a n d l i s t s . T h e t h r e e m o s t i m p o r t a n t p i e c e s of i n f o r m a t i o n a b o u t t h e b o o k a r e : t h e t y p e of b o o k ; its p r o v e n a n c e ; i t s d a t e . M a n u s c r i p t s o u r c e s a l m o s t n e v e r c a r r y a n y t i t l e o r e x p l i c i t to m a k e t h e s e c l e a r . T h e t y p e of b o o k is o f c o u r s e d e t e r m i n e d b y i t s c o n t e n t s , w h i c h after t h e p r e c e d i n g chapters h a r d l y needs f u r t h e r c o m m e n t . E x p e r i e n c e shows, h o w e v e r , that missals a n d b r e v i a r i e s s h o u l d a l w a y s b e d e s c r i b e d as ' n o t e d ' o r ' w i t h o u t n o t a t i o n ' , a n d t h e e x t e n t of t h e n o t a t i o n m a d e c l e a r . The date is partly a matter of palaeography, the accurate chronological i d e n t i f i c a t i o n of t h e t e x t a n d m u s i c s c r i p t s . P a r t l y it is a m a t t e r of e s t i m a t i n g t h e s i g n i f i c a n c e of t h e s a i n t s r e p r e s e n t e d i n the S a n c t o r a l e o r k a l e n d a r , o r t h e d a t e o f t h e latest i t e m s i n t h e s o u r c e . T h e b i g g e s t p r o b l e m s are o f t e n p o s e d b y t h e p r o v e n a n c e of t h e s o u r c e . A t h r e e f o l d d i s t i n c t i o n m a y be o b s e r v e d here, between: 1. t h e d e r i v a t i o n of t h e s o u r c e , t h a t i s , the l i t u r g i c a l t r a d i t i o n t o w h i c h it b e l o n g s ; 2 . t h e p l a c e w h e r e it w a s p r e p a r e d , w h i c h m a y b e d i f f e r e n t f r o m 3 . t h e p l a c e w h e r e it w a s u s e d . T h u s R o u e n , B i b l i o t h e q u e M u n i c i p a l e 277, a n o t e d m i s s a l of t h e mid-thirteenth c e n t u r y , c a n be s h o w n t o h a v e b e e n c o p i e d i n P a r i s ( B r a n n e r 1 9 7 7 ) , b u t f o l l o w s t h e use of R o u e n c a t h e d r a l a n d w a s p r e s u m a b l y p r e p a r e d f o r use t h e r e . R u b r i c a t e d b o o k s m a y c o n t a i n i n f o r m a t i o n a b o u t the personages i n v o l v e d i n the p e r f o r m a n c e of, f o r e x a m p l e , the c e r e m o n i a l of H o l y W e e k . F o r e x a m p l e , i f a b i s h o p a n d ' c l e r i c i ' are i n v o l v e d , t h e b o o k w o u l d h a v e b e e n u s e d i n a c a t h e d r a l r a t h e r t h a n a m o n a s t e r y . F o r g r a d u a l s a n d m i s s a l s t h e d i s t i n c t i o n b e t w e e n s e c u l a r a n d m o n a s t i c use is o f t e n d i f f i c u l t to m a k e . K a l e n d a r a n d l i t a n i e s (if p r e s e n t ) a n d t h e S a n c t o r a l e s h o u l d

be

i n s p e c t e d t o see i f p a r t i c u l a r a t t e n t i o n

is p a i d

to m o n a s t i c

saints

(especially

St B e n e d i c t a n d h i s sister St Scholastica). O f f i c e b o o k s w i l l n a t u r a l l y f o l l o w either secular o r R o m a n cursus o r the monastic cursus. O t h e r clues m a y be gleaned f r o m processional ceremonies, f o r e x a m p l e t h o s e of P a l m S u n d a y , w h i c h v i s i t d i f f e r e n t s t a t i o n s o r c h u r c h e s ; t h e s e m a y b e s p e c i f i e d i n t h e s o u r c e . T h e date o f t h e s e r v i c e f o r t h e d e d i c a t i o n o f t h e c h u r c h m a y also b e m a r k e d i n t h e k a l e n d a r o r b e d e d u c i b l e f r o m its p o s i t i o n i n t h e S a n c t o r a l e , a n d i n r a r e i n s t a n c e s t h i s c a n l e a d to a n i d e n t i f i c a t i o n o f the p r o v e n a n c e of the s o u r c e . T h e s a i n t s t o w h o m a t t e n t i o n i s p a i d are i m p o r t a n t e v i d e n c e f o r t h e d e r i v a t i o n a n d d e s t i n a t i o n o f a s o u r c e , n o t so m u c h t h o s e w h o w e r e u n i v e r s a l l y v e n e r a t e d , s u c h as t h e a p o s t l e s o r e a r l y m a r t y r s , as s a i n t s o f p u r e l y l o c a l i m p o r t a n c e . T h e y m a y b e f o u n d i n three in places: Week (i) i n t h e k a l e n d a r ; psalters, a n d Ascension week; missals, a n d breviaries often have a k a l e n d a r , whereas g r a d u a l s , a n t i p h o n e r s , tropers d o n o t ; (ii) the litanies of the saints Holy (iii) the Sanctorale; not only graduals a n d a n t i p h o n e r s (as w e l l as m i s s a l s a n d b r e v i a r i e s ) h a v e a S a n c t o r a l e , b u t also c o l l e c t i o n s of s e q u e n c e s a n d t r o p e s . A l t h o u g h a p s a l t e r h a s n o S a n c t o r a l e , it m a y b e j o i n e d t o a h y m n a l w h i c h does. R e p e r t o r i a l c o m p a r i s o n s b e t w e e n s o u r c e s are a p o w e r f u l t o o l f o r t h e i n v e s t i g a t i o n o f d e r i v a t i o n a n d d e s t i n a t i o n . A l t h o u g h it w o u l d be possible to list the c o m p l e t e contents of a s o u r c e a n d c o m p a r e it w i t h o t h e r s , i n p r a c t i c e i t is n e c e s s a r y t o b e s e l e c t i v e a n d concentrate o n those parts of the repertory w h i c h most o f t e n d i f f e r f r o m source to s o u r c e . A s f a r as c h a n t s a r e c o n c e r n e d , t h e f o l l o w i n g m a y b e p i c k e d o u t . For mass: 1. A l l e l u i a s , i n c l u d i n g t h e i r m e l o d i e s , w h i c h m a y b e i d e n t i f i e d w i t h t h e a i d o f Schlager's catalogue (1965). T e x t i n c i p i t s of t h e series for Easter week a n d t h e S u n d a y s thereafter, WTiitsun week a n d the S u n d a y s thereafter should always be

n o t e d . L i s t s f o r c o m p a r i s o n w i t h other sources have been a c c u m u l a t e d b y various scholars b u t are u n f o r t u n a t e l y not available i n p r i n t i n large n u m b e r s (for e x a m p l e s see H u s m a n n 1 9 6 2 ' S t u d i e n ' , a n d H i l e y 2. older sequences d o not vary). 3. O r d i n a r y - o f - m a s s m e l o d i e s , a n d tropes, w h i c h s h o u l d be identified w i t h the a i d of t h e c a t a l o g u e s of L a n d w e h r - M e l n i c k i ( 1 9 5 5 ) , B o s s e ( 1 9 5 5 ) , T h a n n a b a u r and 4. For S c h i l d b a c h (1967), s u p p l e m e n t e d b y H i l e y (1986, ' O r d i n a r y ' ) . T r o p e s a n d a n y o t h e r festal m a t e r i a l . the office: (1962), 1980-81). their melodies (the melodies of S e q u e n c e s , i n c l u d i n g , f o r r h y m e d sequences,

1. T h e c h o i c e o f o f f i c e c h a n t s v a r i e s g r e a t l y f r o m s o u r c e t o s o u r c e . I n p r a c t i c e it i s a d v i s a b l e t o r e s t r i c t o n e ' s a t t e n t i o n t o p a r t s of t h e r e p e r t o r y a l r e a d y i n v e s t i g a t e d , s u c h as t h e A d v e n t r e s p o n s o r i e s a n d t h e i r verses l i s t e d b y H e s b e r t (CAO 5 - 6 ) . 2. H y m n s , w h o s e m e l o d i e s s h o u l d be identified w i t h those p u b l i s h e d b y S t a b l e i n 1). ( M M M A

75. Identifying

and

Describing

Chant-Books

337

T h e w a y i n w h i c h r e p e r t o r y c o m p a r i s o n s c a n i l l u m i n a t e t h e d e r i v a t i o n of a s o u r c e m a y b e d e m o n s t r a t e d w i t h the a i d of t h e t w e l v e s o u r c e s e d i t e d i n CAO. for the moment that the p r o v e n a n c e L e t us assume to CAO of t h e g r a d u a l a n d a n t i p h o n e r p u b l i s h e d i n

f a c s i m i l e i n P a l M u s 16, t h e ' M o n t - R e n a u d m a n u s c r i p t ' , is u n k n o w n . I n o r d e r m a n u s c r i p t s as p o s s i b l e , w h i c h is w h a t D o m H e s b e r t d i d i n v o l u m e s 5 a n d 6 of ( m a n u s c r i p t 326/728). F o r p r e s e n t p u r p o s e s t h e t w e l v e s o u r c e s e d i t e d i n CAO w i l l suffice. The sixteen I I I . 15.1 responsories of t h e N i g h t O f f i c e f o r S t A n d r e w (30 (formulary 120, 117).

e s t a b l i s h t h e a f f i l i a t i o n s of the m a n u s c r i p t w e s h o u l d i d e a l l y c o m p a r e it w i t h as m a n y 1 and 2

November) provide a have between the them Table the

s u i t a b l e p o i n t of c o m p a r i s o n . T h e t w e l v e s o u r c e s of CAO different responsories

1-2

I have given them i n

i n the order i n w h i c h they appear i n the oldest source,

Compiegne

g r a d u a l - a n t i p h o n e r Paris, B i b l i o t h e q u e N a t i o n a l e , lat. 17436. F i g u r e s indicate ( f o . l l l - ) a p p e a r s i n the last c o l u m n .

r v

order i n w h i c h they appear i n the other manuscripts. T h e M o n t - R e n a u d m a n u s c r i p t

Table 111.15.1 Responsories in the Night Office of St Andrew: manuscript C D u m de/per-ambulant Venite post me Mox ut vocem Oravit sanctus Andreas Homo dei 0 beata/bona crux Doctor bonus Expandi manus Salve crux Dilexit Andream Vir iste Cum videret/vidisset D u m penderet Videns/Vidit crucem Beatus Andreas de cruce Cives apostolorum 1 2 3 4 5 6 7 8 9 10 11 12 13 14 B 1 2 3 7 4 5 6 8 9 E 1 2 10 4 5 3 6 9 8 7 M 1 2 3 6 7 4/5 8 9 11 V 1 7 2 11 4 5 3 6 8 9 H 1 2 3 7 4 5 6 9 10 8

C A O and

the

Mont-Renaud

R 1 2 3 9 4 8 5 10 7 12 11 6

D 1 2 3 8 4 7 5 10 6 11 12

F 1 2 7 5 6 4 8 10 12 11 3

S 1 2 3 5 6 4 7 10 12 8 11

L 1 2 3 10 4 9 7 8 11 5 6

MR 1 2 3 8 4 7 5 10 6 11 12

11

10

10 9 9 9

9 12

I n m o s t s o u r c e s t h e r e s p o n s o r i e s are g r o u p e d f o r t h e t h r e e n o c t u r n s i n t h r e e , f o u r s , or l a r g e r g r o u p s , s o m e t i m e s r e f l e c t i n g the s e c u l a r o r R o m a n c u r s u s , s o m e t i m e s the m o n a s t i c , b u t s o m e t i m e s w i t h s e v e r a l ' e x t r a ' r e s p o n s o r i e s , w h i c h c o u l d b e s e l e c t e d as the p r e c e n t o r s a w fit. T h i s is m o s t o b v i o u s l y t h e case i n t h e C o m p i e g n e g r a d u a l a n t i p h o n e r . It has a l m o s t a l l the r e s p o n s o r i e s f o u n d e l s e w h e r e . T h r e e of t h e sources

s i m p l y c o p y a l l r e s p o n s o r i e s t o g e t h e r after the a n t i p h o n s . ( T h e s h e l f - m a r k s of sources are g i v e n at t h e start of I I I . 5 ; o n l y t h e i r p r o v e n a n c e 11, h a s a l a c u n a at t h i s p o i n t . ) 4 + 3 + 7 3 + 3 + 3 3 + 3 + 5 4 + 4 + 3 3 + 4 + 4 (Hartker) 3 + 3 + 4 4 + 4 + 4 12 4 + 4 + 4 4 + 4 + 4 12 12 D u r h a m B. III. c B E M V H R D F S L = = = = = = = = =

the

is g i v e n h e r e ; ' G \

Compiegne Bamberg Ivrea Monza Verona Rheinau Saint-Denis Saint-Maur-des-Fosses Silos Benevento

= St G a l l

M R = the M o n t - R e n a u d m a n u s c r i p t

It m a y b e s e e n t h a t o n l y o n e o t h e r m a n u s c r i p t has t h e o r d e r of r e s p o n s o r i e s i n t h e Mont-Renaud book, a n d that is t h e Saint-Denis antiphoner. The Mont-Renaud source m a y also c o m e f r o m S a i n t - D e n i s , or, s l i g h t l y m o r e l i k e l y , f r o m C o r b i e , w h o s e l i t u r g y a n d c h a n t w e r e i n m o s t r e s p e c t s i d e n t i c a l w i t h t h a t of S a i n t - D e n i s . S o t h e l i t t l e test c a r r i e d o u t h e r e a c c o r d s w i t h o t h e r f i n d i n g s a b o u t t h e m a n u s c r i p t . ( I t m a y be s a i d t h a t n o t e v e r y f o r m u l a r y finds t h e s e t w o s o u r c e s i n a g r e e m e n t . ) It l o o k s as if t h e m a n u s c r i p t s a l l select r e s p o n s o r i e s f r o m a c o m m o n p o o l of the f a v o u r i t e c o m p o s i t i o n s , p r a c t i c a l l y a l l of w h i c h w e r e a l r e a d y a v a i l a b l e e a r l y i n t h e n i n t h c e n t u r y (at least i n t i m e f o r t h e C o m p i e g n e s o u r c e to i n c l u d e t h e m ) . S o o n e c o u l d f o l l o w f u r t h e r b y c o n s u l t i n g the O l d R o m a n s o u r c e s . T h e i m p o r t a n c e of c o m p a r i s o n o f m u s i c a l v a r i a n t s c a n n o t be o v e r e s t i m a t e d . Not o n l y d o t h e y act as a l i t m u s test f o r t h e r e l a t i o n s h i p s b e t w e e n s o u r c e s , t h e y c o n s t i t u t e v a l u a b l e e v i d e n c e as to t h e m o d e of t r a n s m i s s i o n of c h a n t . T h e o n l y e x t e n s i v e w o r k so f a r c a r r i e d o u t is t h a t of t h e m o n k s of S o l e s m e s , r e p o r t e d i n Le for p r o p e r chants antiphons, 'Thurstan'.) and This of m a s s . (For see examples sequences, U n d e r w o o d 1982 and Hiley Graduel 1980-1 romain chants, and on both IV, office 1986, the of w o r k o n o t h e r m a s s depends c o m p a r i s o n s h e d s a l i t t l e l i g h t o n t h e h i s t o r i c a l d e v e l o p m e n t of t h e r e p e r t o r y , w h i c h

w o r k is l a b o r i o u s ,

f o r its e f f e c t i v e n e s s

a c c u m u l a t i o n of a l a r g e n u m b e r o f p o i n t s of m u s i c a l v a r i a n c e a n d t h e i r t r a c k i n g t h r o u g h a l a r g e n u m b e r of s o u r c e s . M u c h of t h e i n f o r m a t i o n e l i c i t e d b y the a b o v e m e t h o d s of i n v e s t i g a t i o n has to be r e p o r t e d i n a r t i c l e s r a t h e r t h a n b r i e f c a t a l o g u e d e s c r i p t i o n s of s o u r c e s , t h o u g h t h e latter can s u m m a r i z e the most important points. Catalogue descriptions should, l a t t e r p o i n t is o f t e n h o w e v e r , i n c l u d e a c o d i c o l o g i c a l a n d palaeographical d e s c r i p t i o n of the source a n d d e s c r i b e t h e n a t u r e a n d e x t e n t of t h e m u s i c a l n o t a t i o n . ( T h e o v e r l o o k e d : f o r e x a m p l e , has a m i s s a l n o t a t i o n o n l y f o r t h e c a n o n of t h e m a s s , o r f o r

75. Identifying all c h a n t s ? ) description. A p h o t o g r a p h of the

and

Describing

Chant-Books says more than a paragraph

339 of

notation often

T h e r e are b y n o w a great n u m b e r of d e s c r i p t i o n s of c h a n t s o u r c e s , p a r t i c u l a r l y i n t h e c a t a l o g u e s of i n d i v i d u a l l i b r a r i e s . T h e i r q u a l i t y a n d t h e s p a c e t h e y d e v o t e to e a c h source n a t u r a l l y varies greatly. A s examples of w i d e l y d i f f e r i n g c o n c e p t s (1894-32), Angles and of what s h o u l d be r e p o r t e d , t h e r e a d e r m a y c o n s u l t F r e r e Subira of are

(1946), H u s m a n n i n R I S M B/V/l (1964), B e r n a r d ( 1 9 6 5 - 7 4 ) , A r n e s e (1967), Stenzl ( 1 9 7 2 ) , P l o c e k ( 1 9 7 3 , F e r n a n d e z de la C u e s t a ( 1 9 8 0 ) , a n d G o t t w a l d ' s c a t a l o g u e s music manuscripts in Augsburg, Freiburg i m Breisgau, M u n i c h , S t u t t g a r t . F i n e c a t a l o g u e s of l i t u r g i c a l m a n u s c r i p t s ( t h a t i s , n o t j u s t m u s i c - b o o k s ) G r e g o i r e ( 1 9 6 8 - 7 3 ) f o r I t a l y , a n d t h e v o l u m e s of I t e r H e l v e t i c u m . O t h e r research tools i n c l u d e catalogues and Austria; of m e d i e v a l l i b r a r i e s , e i t h e r Bibliotheks-Kataloge original ( G . H . B e c k e r 1885; the Mittelalterliche Switzerland, N u r e m b e r g , and

n o w a v a i l a b l e f o r s e v e r a l areas of E u r o p e , f o r e x a m p l e R a d o ( 1 9 7 3 ) f o r H u n g a r y , essential documents or lists of

p u b l i s h e d for G e r m a n y ,

Nortier 1957-8-for

N o r m a n monasteries)

s u r v i v i n g s o u r c e s f r o m m e d i e v a l c e n t r e s ( K e r 1964,

1987 a n d K r a m e r 1 9 8 9 ) .

Notation
IV.1. (i) P r e l i m i n a r y (ii) T h e S i g n s i n M o n t p e l l i e r H . 159 (iii) N e u m e W a g n e r I I ; P a l M u s 13; S u n o l 1935; J a m m e r s 1965, Tafeln\ S t a b l e i n 1975; C o r b i n 1977; C o r b i n , ' N e u m a t i c N o t a t i o n s , I - I V , NG; H i l e y , ' N o t a t i o n , I I I , 1', NG; H u g l o 1990. (i) In Preliminary this chapter first the notational signs used i n the earliest chant sources are I N T R O D U C T I O N

d i s c u s s e d , t h e s i g n s g e n e r a l l y k n o w n as n e u m e s . It is n o t easy t o c o m e t o g r i p s w i t h t h e d i f f e r e n t s t y l e s of n o t a t i o n , t h e i r b e g i n n i n g s a n d h i s t o r i c a l d e v e l o p m e n t , w i t h o u t s o m e b a s i c k n o w l e d g e o f t h e s y s t e m o r s y s t e m s i n v o l v e d . F i r s t of a l l , t h e r e f o r e , a b r i e f d e s c r i p t i o n of t h e s i g n s i n o n e p a r t i c u l a r m a n u s c r i p t is g i v e n , a m a n u s c r i p t c h o s e n (a) b e c a u s e it is a v a i l a b l e f o r f u r t h e r s t u d y i n f a c s i m i l e i n a m o d e r n t r a n s c r i p t i o n , a n d (b) b e c a u s e i t h a s a l e t t e r n o t a t i o n , s p e c i f y i n g p i t c h e s , as w e l l as t h e s i g n s k n o w n as n e u m e s , tonary, Montpellier, Faculte d e M e d e c i n e F I . 159 ( P a l M u s 8 ; Hansen commonly 1974). It w h i c h s p e c i f y m o d e o f d e l i v e r y . T h i s is t h e w e l l - k n o w n D i j o n h o w e v e r , that o t h e r s o u r c e s h a v e s i g n s f o r w h i c h

s h o u l d be clear f r o m the outset,

t h e r e is n o c o u n t e r p a r t i n M o n t p e l l i e r H . 159, a n d that i t has s o m e w h i c h t h e y m a y lack, a n d that n o t w o m a n u s c r i p t s c o r r e s p o n d exactly i n the w a y they e m p l o y the signs. O t h e r s t y l e s o f m u s i c - w r i t i n g are t h e n i l l u s t r a t e d , a f t e r w h i c h t h e b e g i n n i n g s of n o t a t i o n are d i s c u s s e d , a t o p i c w h i c h has c a u s e d m u c h c o n t r o v e r s y , n o t least i n t h e last f e w y e a r s . T h e n t h e r h y t h m i c n u a n c e s i n d i c a t e d i n t h e r e f i n e d n o t a t i o n of s o m e i m p o r t a n t e a r l y s o u r c e s are d i s c u s s e d . A f t e r that t h e d e v e l o p m e n t o f p i t c h - n o t a t i o n f r o m t h e e l e v e n t h c e n t u r y o n w a r d is t r e a t e d . S o m e s y s t e m s f o u n d o n l y i n t h e o r e t i c a l treatises are m e n t i o n e d , centuries. and then the notations of t h e l a t e r Middle Ages and subsequent F i n a l l y , a f e w t h o u g h t s are h a z a r d e d a b o u t p e r f o r m a n c e a n d

transcription.

A l t h o u g h it has b e c o m e c u s t o m a r y to c a l l t h e e a r l y n o t a t i o n a l s i g n s ' n e u m e s ' , t h e w o r d w a s m o r e o f t e n u s e d i n a d i f f e r e n t sense i n t h e e a r l y M i d d l e A g e s , t o m e a n a m e l o d i c p h r a s e . A n e u m a c o u l d be as s h o r t as o n e n o t e o r as l o n g as 101 n o t e s . T h e m e a n i n g of t h e t e r m is d i s c u s s e d b e l o w . L i k e C a r d i n e ( 1 9 6 8 , e t c . ) I h a v e u s u a l l y s p o k e n s i m p l y of 'signs'. T h e p r i m a r y f u n c t i o n of m u s i c a l n o t a t i o n is u s u a l l y r e g a r d e d as t h e i n d i c a t i o n of p i t c h , b u t t h i s w a s e v i d e n t l y n o t t h e case w i t h t h e e a r l i e s t n o t a t i o n s . It is e s s e n t i a l to r e a l i z e t h a t t h e m u s i c r e p r e s e n t e d w a s a l r e a d y k n o w n b y h e a r t as f a r as its t o n a l i t y a n d pitch content with were the concerned. use of t h e The notation reminded the singer of of details of phrasing, associated significance r h y t h m , a n d d y n a m i c , together w i t h some s i g n s k n o w n as t h e is n o t n o w fully clear. refinements oriscus performance whose most used,

and quilisma, to be

E v e n after n o t a t i o n b e g a n

p e r f o r m a n c e of c h a n t c o n t i n u e d f r o m m e m o r y . A n o t a t e d b o o k w a s f o r r e f r e s h i n g t h e m e m o r y , f o r recordation as it w a s k n o w n , i n t h e s o n g - s c h o o l o r b e f o r e a p a r t i c u l a r e x p e c t e a r l y m a n u s c r i p t s t o t e l l us t h e s a m e as o r Antiphonale Romanum, nor regard their service. W e s h o u l d not, therefore,

m o d e r n e d i t i o n s s u c h as t h e Graduate perfection.

n o t a t i o n as s o m e s o r t o f p r i m i t i v e , g r o p i n g , a n d flawed s t a r t o n a l o n g r o a d t o u l t i m a t e

( i i ) The

Signs in Montpellier

H.

159

T a b l e I V . 1.1 sets o u t t h e s i g n s i n M o n t p e l l i e r H . 159, t o g e t h e r w i t h c o r r e s p o n d i n g signs i n the m o d e r n Vatican/Solesmes editions a n d i n the transcriptions g i v e n i n this b o o k . A t t h e b e g i n n i n g of e a c h l i n e the m e l o d i c g e s t u r e i n v o l v e d is s t a t e d , a n d t h e n a m e of the s i g n i n the later medieval sign-tables. ( T h e s e tables, w h i c h appear f r o m t h e t w e l f t h c e n t u r y o n w a r d , h a v e b e e n e d i t e d a n d d i s c u s s e d b y H u g l o 1954, ' N o m s ' . M o s t of t h e t a b l e s are o f G e r m a n o r i g i n ; f o r t w o I t a l i a n o n e s see F e r r e t t i 1929. t h e b e t t e r - k n o w n n a m e s are g i v e n h e r e . ) M o n t p e l l i e r H . 159, m a n u s c r i p t s , uses t h e s l a n t i n g v i r g a ( I B ) but not m a n y Only other

f o r a n o t e w h i c h c o m e s at a l o w p o i n t i n a is d i s c u s s e d i n the

p h r a s e , b u t is n o t l o w i n t h e o v e r a l l r a n g e o f the p i e c e . A n d v e r y f e w o t h e r s o u r c e s use t h e d e s c e n d i n g q u i l i s m a . T h e i n t e r p r e t a t i o n of t h e s p e c i a l s i g n s 1 1 - 1 5 IV.3. E x . I V . 1.1 s h o w s h o w s o m e of t h e s i g n s are u s e d . E a c h s i g n is l a b e l l e d w i t h n u m b e r g i v e n i n t h e T a b l e . T h e s i g n s u s u a l l y g i v e n o i n d i c a t i o n as t o t h e s i z e o f t h e i n t e r v a l s i n v o l v e d . T h e l i q u e s c e n t s i g n 1 5 B is u s e d i n d i s c r i m i n a t e l y h e r e f o r a s e c o n d , a t h i r d , a n d a f o u r t h . T h e s c a n d i c u s (4) c a n j u s t as w e l l b e u s e d f o r Gbd as f o r Gab. O n l y t h e s i g n s f o r s i n g l e n o t e s i n d i c a t e s o m e t h i n g of r e l a t i v e h e i g h t , so t h a t ' h i e f e r t ' has v i r g a - p u n c t u m . T h e p u n c t u m is u s u a l l y r e s e r v e d f o r t h e l o w e s t of a g r o u p of s i n g l e n o t e s , so t h a t t h e r e are m o r e v i r g a e t h a n p u n c t a : t h u s t h e ' q u i ' at ' q u i m a n e t ' has a v i r g a , n o t a p u n c t u m , l i k e w i s e 'et' a n d ' - g o ' at 'et e g o ' . B y a n a l o g y o n e w o u l d t h e n e x p e c t t h e s c a n d i c u s a n d c l i m a c u s to c o n s i s t of b u t o n e p u n c t u m a n d t w o v i r g a e , b u t t h e r e v e r s e is t h e c a s e . T h e s l a n t i n g v i r g a ( I B ) is u s e d t h r e e t i m e s , f o r a , b
y

and b

r e s p e c t i v e l y ; b u t t h e p u n c t u m c a n also be f o u n d f o r t h e s e n o t e s as w e l l , o r e v e n f o r c

T a b l e I V . 1.1. Notational M e l o d i c gesture ( H = higher note M = m i d d l e note L = lower note) 1. single notes A. II

signs in Montpellier,

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de Medecine

II.

159 Montpellier Vatican (* = no special sign) Transcription

N a m e i n medieval sign-tables

virga

B . L (relatively h i g h i n range) C. L punctum pes, podatus clivis, flexa etc. etc. scandicus climacus pes s u b b i p u n c t i s torculus porrectus porrectus flexus torculus resupinus ^ J ^ ^
1

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7. L - H - L 8. H - L - H 9. Il-L-II-L

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11. repeated notes A. B. C . L - H and H - L + repeated note 12. H - H - L 13. see below, I V . 3 A . followed by a p u n c t u m B . joined to the p u n c t u m C . followed by a virga 14. see b e l o w , I V . 3 quilisma (always between two notes a 3rd apart) J n trigon oriscus (not found alone) bivirga, trivirga bistropha, tristropha

15. liquescent neumes (selection) A . p u n c t u m 4- ascending liquescence liquescent pes ( L - H ) B . virga 4- descending liquescence = liquescent clivis ( H - L ) C . clivis 4- descending liquescence = liquescent c l i m a c u s ( H - M - L ) epiphonus cephalicus ancus

E x . I V . 1.1. C o m m u n i o n Ego sum vhis p . 82)

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# j r ^
al - l e - l u - ia al - l e -lu-ia.

( ' m a N E T ' ) . C l e a r l y t h e r e is melodic context.

flexibility

i n t h e use of t h e s i g n s a n d m u c h d e p e n d s o n

A s a l r e a d y m e n t i o n e d , t h e e x t a n t t a b l e s of n o t a t i o n a l s i g n s date o n l y f r o m t h e t w e l f t h c e n t u r y o n w a r d . T h e n a m e s g i v e n t o t h e i n d i v i d u a l s i g n s are of u n c e r t a i n d e r i v a t i o n , a n d m o s t a r e u n d o u b t e d l y late L a t i n o r p s e u d o - G r e e k n e o l o g i s m s . They are p r o b a b l y b e t t e r k n o w n n o w t h a n t h e y w e r e i n t h e M i d d l e A g e s . T h e l i t e r a l m e a n i n g s o f t h o s e g i v e n o n T a b l e I V . 1 . 1 are as f o l l o w s . I t w i l l b e s e e n t h a t m o s t a r e d e s c r i p t i v e e i t h e r of t h e a c t u a l s h a p e of t h e s i g n o r o f t h e m e l o d i c g e s t u r e i n v o l v e d . ( F o r f u r t h e r d i s c u s s i o n , see H u g l o 1 9 5 4 , ' N o m s ' . ) virga punctum pes podatus clivis flexa scandicus climacus pes s u b b i p u n c t i s torculus porrectus porrectus flexus L a t . : 'staff L a t . : 'point' L a t . : 'foot' f r o m G k . pous> poclus: f r o m L a t . clivus: f r o m L a t . scandere: f r o m G k . klimax: 'foot' 'slope' 'ascend' 'ladder'

p o s s i b l y a n a b b r e v i a t i o n of L a t . a c c e n t ' c i r c u m f l e x a '

a pes w i t h t w o lower p u n c t a L a t . ' s c r e w of a w i n e - p r e s s ' L a t . 'stretched out' a porrectus turned back d o w n

torculus resupinus bivirga, trivirga bistropha, tristropha trigon

oriscus

a torculus turned back up t w o , three virgae t w o , three apostrophes 'triangle' 'rolling action' 'added sound' 'little head' 'curve' 'limit'? f r o m G k . trigonon: f r o m G k . horos: f r o m G k . kylisma: f r o m G k . epi f r o m G k . kephalis: f r o m G k . agkon:

quilisma epiphonus cephalicus ancus

4- phone:

(iii)

Neume

T h e r e are t w o L a t i n s p e l l i n g s of t h e w o r d , w i t h m e a n i n g s r e a l l y d i s t i n c t b u t o f t e n c o n f u s e d i n t h e M i d d l e A g e s : t h e L a t i n w o r d neuma m e a n s a ' g e s t u r e ' ; pneuma ( f r o m the same w o r d i n G r e e k ) The force (also f r o m t h e s a m e w o r d i n G r e e k ) m e a n s ' b r e a t h ' .

latter f o r m was c o m m o n l y used to s i g n i f y the H o l y S p i r i t , a n d t h i s m e a n i n g b e c a m e a p p l i e d b y t r a n s f e r e n c e t o n e u m a , t h u s l i n k i n g m u s i c to t h e d i v i n e c r e a t i v e itself. A l t h o u g h n e u m a d i d e v e n t u a l l y c o m e to m e a n a n o t a t i o n a l s i g n , t h a t w a s n o t i t s p r i m a r y m u s i c a l m e a n i n g . M o r e o f t e n it w a s u s e d to r e f e r t o a s o u n d i n g m e l o d y , o r p h r a s e , i n p a r t i c u l a r o n e w h i c h has n o w o r d s . A m a l a r i u s o f M e t z , w r i t i n g a b o u t s p e a k s i n a w e l l - k n o w n passage a b o u t a neuma triplex, 830, a set of t h r e e m e l i s m a s , t e x t l e s s neuma:

m e l o d i e s , a d d e d to c e r t a i n r e s p o n s o r i e s of the N i g h t O f f i c e ( e d . H a n s s e n s i i i . 5 4 - 5 ) . T h e t e x t l e s s m e l o d y of t h e s e q u e n c e w a s also o f t e n r e f e r r e d t o as t h e

Post alleluya, quaedam melodia n e u m a t u m cantatur, q u o d s e q u e n t i a m q u i d a m appellant ( U d a l r i c u s of C l u n y : P L 149. 655) P n e u m a sequentie q u o d post alleluia cantatur, l a u d e m eterne glorie significat ( J o h a n n e s of A v r a n c h e s : P L 147. 34) (See (see Bautier-Regnier III.14.ii). t r e a t i s e Quid est cantus? ( w h i c h w i l l be referred to 1964, 5; Hiley, ' N e u m a ' , NG). N e u m a is a l s o t h e 'model'

m e l o d y f o r e a c h m o d e f o u n d i n t o n a r i e s o r a d d e d to a n t i p h o n s as a f e s t a l

extension

T h e use of n e u m a to m e a n t h e w r i t t e n s i g n s e e m s n o t t o b e as o l d as t h e s e . I n t h e controversial eleventh-century a g a i n i n the d i s c u s s i o n of t h e o r i g i n s of n e u m a t i c n o t a t i o n ) i t is s t a t e d : ' D e t o n i o r i t u r n o t a q u e d i c i t u r n e u m a ' ( W a g n e r 1904, 481-4). A s a term Saintinventa T h e u s u a l w o r d f o r w r i t t e n m u s i c a l s i g n s i n t h e M i d d l e A g e s w a s nota. a n o n y m o u s t r e a t i s e Musica A m a n d . T h e a u t h o r of Musica 'dasian' notation, and ends: enchiriadis enchiriadis 'Sunt accentibus

f o r a l p h a b e t i c o r c o m p a r a b l e s i g n s , t h i s is f o u n d as e a r l y as t h e n i n t h c e n t u r y , i n t h e a n d i n t h e t r e a t i s e of H u c b a l d of s o n o r u m signa, has b e e n s p e a k i n g of t h e s p e c i a l s i g n s of

et a l i a p l u r a p l u r i u m

a n t i q u i t u s , q u i b u s e v i t a t i s , has f a c i l i o r e s h i e i n s e r e r e c u r a e f u i t n o t a s . ' ( ' A n d t h e r e a r e very m a n y other signs for sounds, f o u n d i n a n t i q u i t y , w h i c h have b e e n a v o i d e d , a n d

o u r c a r e w a s t o i n s e r t h e r e these easier n o t e s . ' ) E v e n t u a l l y nota a l p h a b e t i c s i g n s as w e l l a s i n t h e treatise Quid est cantus?

signifies the n o n -

mentioned above.

B y t h e e l e v e n t h t o t w e l f t h c e n t u r y , t h e r e h a d a r i s e n a m a n u s c r i p t t r a d i t i o n of l i s t i n g n e u m e s i n d i d a c t i c t a b l e s . T h e r e are t w o t y p e s of t a b l e , o n e s h o r t a n d t h e o t h e r l o n g . O n e t h i r t e e n t h - c e n t u r y source of the short table ( H u g l o 1954, ' N o m s ' , 5 5 , s o u r c e R ) e n t i t l e s i t s l i s t ' N o m i n a n o t a r u m ' , w h i l e t h e u s u a l t i t l e f o r t h e l o n g t a b l e is ' N o m i n a n e u m a r u m ' . T h e last v e r s e of t h e s h o r t t a b l e r u n s : ' N e u m a r u m s i g n i s e r r a s q u i p l u r a r e f i n g i s . ' ( ' Y o u err w i t h signs of the neumes w h e n y o u f a s h i o n m o r e . ) T h u s ' n e u m e ' still means the m e l o d y itself, not the s i g n . A s a final w i t n e s s t o t h e m e a n i n g of n e u m e as a m e l o d y , r a t h e r t h a n a w r i t t e n s i g n , G u i d o o f A r e z z o ' s Micrologus, w r i t t e n a b o u t 1 0 3 0 , m a y b e c i t e d . I n c h . 15 G u i d o (litterae) d r a w s a n i n t e r e s t i n g a n a l o g y b e t w e e n t h e c o n s t r u c t i o n of m e t r i c a l v e r s e a n d t h a t of a m e l o d y . T h e t e r m s h e uses are t h e f o l l o w i n g . T h e i n d i v i d u a l l e t t e r s o f v e r s e are c o m p a r a b l e t o t h e i n d i v i d u a l s o u n d s o f m u s i c (phthongi (syllabae) a r e c o m p o s e d of l e t t e r s , so m u s i c a l s y l l a b l e s (syllabae) o r soni). A s syllables one or of here

are c o m p o s e d o f o n e o r pedes); T h e bringing

o r m o r e s o u n d s . S y l l a b l e s are m a d e u p i n t o p a r t s o r feet (panes m o r e m u s i c a l s y l l a b l e s m a k e u p n e u m e s o r p a r t s (neumae t o g e t h e r o f feet m a k e s a verse (versus), a m u s i c a l c o m p o s i t i o n , c o m p o s e d of several n e u m e s .

o r partes).

w h i c h is e q u i v a l e n t t o a s e c t i o n (distinctio)

T h e t e r m n e u m e , m e a n i n g a n o t a t i o n a l s i g n , h a s b y n o w b e c o m e so e m b e d d e d i n t h e m u s i c a l l i t e r a t u r e t h a t it w o u l d b e p o i n t l e s s to t r y a n d r e s t r i c t i t s m e a n i n g t o t h e o t h e r m e d i e v a l sense o f t h e w o r d . I h a v e n e v e r t h e l e s s a v o i d e d it w h e n s p e a k i n g o f notation.

IV.2. (i) (ii) (iii) (iv) (v)

R E G I O N A L

S T Y L E S

F r e n c h and G e r m a n N o t a t i o n (see Plates 4, 6 - 8 ) Palaeofrankish, L a o n , B r e t o n , and A q u i t a n i a n Notations (Plates 1-3) T y p e s Related to F r e n c h - G e r m a n N o t a t i o n (Plate 5) O t h e r Italian Notations (Plates 11-13) Examples

P a l M u s 2 - 3 ; Bannister 1913; Suriol 1935. T h i s c h a p t e r g i v e s b r i e f d e s c r i p t i o n s of s o m e of t h e m o r e i m p o r t a n t t y p e s of c h a n t n o t a t i o n . I t w i l l b e r e c o g n i z e d , of c o u r s e , that s o u r c e s h a b i t u a l l y c l a s s i f i e d t o g e t h e r d o n o t a l w a y s u s e a b s o l u t e l y i d e n t i c a l s h a p e s . T h e s i g n s g i v e n i n t h e t a b l e s b e l o w are c o p i e d f r o m o n e m o r e o r less t y p i c a l m a n u s c r i p t , r a t h e r t h a n b e i n g r e g u l a r i z e d o n t h e b a s i s o f t h e g e n e r a l i t y o f s o u r c e s . N o r is an a t t e m p t m a d e t o g i v e a l l t h e v a r i a n t s h a p e s w i t h i n e a c h s o u r c e : o n l y t h e m o s t c o m m o n are s e l e c t e d .

(i) French

and

Gennan

Notation

(see Plates

4,

6-8)

Facsimiles: B a m b e r g , Staatsbibliothek l i t . 6 (German/St G a l l ) : see B a m b e r g 6 E i n s i e d e l n , Stiftsbibliothek 121 (German/St G a l l ) : P a l M u s 4 M o n t p e l l i e r , Faculte de M e d e c i n e H . 159 ( F r e n c h ) : P a l M u s 8 Paris, B i b l i o t h e q u e M a z a r i n e 384 ( F r e n c h ) : M M S 5 St G a l l , S t i f t s b i b l i o t h e k 339 (German/St G a l l ) : P a l M u s 1 St G a l l , Stiftsbibliothek 359 (German/St G a l l ) : P a l M u s II/2 St G a l l , S t i f t s b i b l i o t h e k 3 9 0 - 3 9 1 (German/St G a l l ) : P a l M u s II/l private c o l l e c t i o n , the M o n t - R e n a u d manuscript ( F r e n c h ) : P a l M u s 16 A l t h o u g h c o m m o n l y r e g a r d e d as d i s t i n c t , F r e n c h a n d G e r m a n s i g n s a r e s i m i l a r i n m a n y b a s i c w a y s . T h e h a b i t of c l a s s i f y i n g t h e m a p a r t has c o m e a b o u t b e c a u s e w h e r e a s u p - s t r o k e s o f t h e p e n i n F r e n c h n o t a t i o n are m o r e o r less v e r t i c a l , t h o s e o f G e r m a n s o u r c e s are u s u a l l y s l a n t e d . F u r t h e r m o r e , t h e d e s e r v e d l y h i g h d e g r e e o f a t t e n t i o n p a i d t o t h e m o s t i n t e r e s t i n g s o u r c e s of G e r m a n n o t a t i o n , t h e S t G a l l m a n u s c r i p t s , w i t h a w e a l t h of n o t a t i o n a l d e t a i l n o t f o u n d i n F r e n c h s o u r c e s , h a s c r e a t e d t h e i m p r e s s i o n of a system w h i c h is d i f f e r e n t f r o m that of F r e n c h n o t a t i o n . If, h o w e v e r , between St Gall n o t a t i o n is r e g a r d e d as e x c e p t i o n a l , and a comparison is m a d e simpler

G e r m a n a n d F r e n c h e x a m p l e s , t h e s i m i l a r i t i e s are o b v i o u s . T a b l e I V . 2 . 1 sets o u t t h e u s u a l f o r m s f o r F r e n c h a n d G e r m a n n o t a t i o n , b u t p l a c e s b e t w e e n t h e m t h e f o r m s f o u n d i n a n i n t e r m e d i a t e area, as it w e r e . T h e s o u r c e s o n w h i c h t h e t a b l e is b a s e d are t h e M o n t - R e n a u d m a n u s c r i p t ( f r o m C o r b i e , late t e n t h century), This L e i p z i g , U n i v e r s i t a t s b i b l i o t h e k , R e p . I . 93 ( f r o m t h e M o s e l a r e a , m a y be c o m p a r e d with Table I V . 1.1 i n the previous section, tenth for c e n t u r y ) , a n d L o n d o n , B r i t i s h L i b r a r y , A d d . 19768 ( f r o m M a i n z , t e n t h table M o n t p e l l i e r H . 159 b e l o n g s to t h i s f a m i l y of n o t a t i o n s . T h e varieties of F r e n c h notation f o u n d i n C l u n i a c sources have been s u r v e y e d b y H o u r l i e r ( 1 9 5 1 , ' R e m a r q u e s ' ) . T h e n o t a t i o n of t h e S t G a l l s o u r c e s h a s l o n g b e e n t h e s u b j e c t of i n t e n s i v e s t u d y . B e c a u s e of its e s p e c i a l l y s o p h i s t i c a t e d c h a r a c t e r s o m e of i t s f e a t u r e s are d i s c u s s e d b e l o w , I V . 3 a n d I V . 5 . century).

(ii) Palaeofrankish, Facsimiles:

Laon,

Breton,

and Aquitanian

Notations

(see Plates

1-3)

Diisseldorf, Universitatsbibliothek D . 1 (Palaeofrankish): J a m m e r s 1952 L a o n , B i b l i o t h e q u e M u n i c i p a l e 239 ( L a o n ) : P a l M u s 10 Chartres, B i b l i o t h e q u e M u n i c i p a l e 47 ( B r e t o n ) : P a l M u s 1 Paris, B i b l i o t h e q u e Nationale lat. 903 ( A q u i t a n i a n ) : P a l M u s 13 Unlike sources, the w i d e l y established French-German France, type, Palaeofrankish signs were see

k n o w n i n o n l y a s m a l l area of n o r t h - e a s t

a n d s u r v i v e i n b u t a h a n d f u l of ( f o r a l i s t of s o u r c e s , 'Palaeofrankish',

n o n e o f w h i c h is a f u l l g r a d u a l o r a n t i p h o n e r

H o u r l i e r a n d H u g l o 1 9 5 7 ) . H a n d s c h i n ( 1 9 5 0 ) g a v e it t h e n a m e

IV. T a b l e I V . 2 . 1 . French

Notation notational Leipzig R e p . I..93 signs London 19768

and German MontRenaud

1. virga 2. p u n c t u m 3. clivis 4. pes 5. porrectus 6. t o r c u l u s 7. c l i m a c u s 8. scandicus 9. q u i l i s m a 10. oriscus 11. liquescents

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b e l i e v i n g i t t o b e t h e o l d e s t t y p e of n o t a t i o n d e v e l o p e d i n t h e F r a n k i s h

empire.

I n s t e a d of w r i t i n g p e s a n d c l i v i s w i t h t w o d i s t i n c t m o v e m e n t s of t h e p e n , t h i s n o t a t i o n uses o n l y o n e s l a n t i n g o r s l i g h t l y c u r v e d s t r o k e . T h e p o r r e c t u s a n d t o r c u l u s also t e n d to f o r m a s i n g l e a r c o r a n g l e , r a t h e r t h a n a t r i p a r t i t e brief, often entered about in manuscripts figure. Q u i l i s m a and oriscus do to c o n t a i n entered notation, in Table n o t a p p e a r t o b e p r e s e n t i n t h e earliest e x a m p l e s . S i n c e so m a n y o f t h e e x a m p l e s are not originally designed generalizations century). The area w h e r e Palaeofrankish n o t a t i o n w a s u s e d is also t h a t where so-called ' M e s s i n e ' s i g n s w e r e u s e d . T h e n a m e ' M e s s i n e ' r e f e r s t o t h e s u p p o s e d o r i g i n of t h e t y p e i n M e t z , f a m o u s i n t h e e a r l y n i n t h c e n t u r y f o r its c h a n t . also r e l a t i v e l y scarce. C o r b i n N o ninth-century argued that n o t a t e d s o u r c e s f r o m M e t z h a v e s u r v i v e d , a n d i n d e e d , t h o s e f r o m l a t e r c e n t u r i e s are ( 1 9 7 7 , a n d ' N e u m a t i c N o t a t i o n s ' , NG) t h e s i g n s are s o m e w h a t hazardous. Those

I V . 2 . 2 are c o p i e d f r o m D i i s s e l d o r f , U n i v e r s i t a t s b i b l i o t h e k D . 1 ( f r o m P K o r v e y , t e n t h

'Lorraine'

was a better

name

for the type,

since

the area

where

it w a s u s e d the

corresponded 'Messine'. survive.

to the ancient

t e r r i t o r y of L o t h a r i n g i a ( f r o m

w h i c h descends w i t h this Noyon,

m o d e r n n a m e ' L o r r a i n e ' ) . ' L o r r a i n e ' is, however, no m o r e a p p r o p r i a t e than the n a m e M a p IV.2.1 Neither the shows the centres f r o m w h i c h sources ninth-century kingdom nor the notation duchy of L a o n , or tenth-century

L o t h a r i n g i a i n c l u d e d t h e m o r e w e s t e r l y c e n t r e s , s u c h as L i l l e ,

R e i m s ; b u t t h e y d i d i n c l u d e c i t i e s s u c h as T r i e r a n d A a c h e n , a n d o t h e r t e r r i t o r y as f a r as t h e R h i n e w h e r e t h e n o t a t i o n w a s u n k n o w n . T h e a r e a c o r r e s p o n d s b e t t e r , t h o u g h s t i l l n o t e x a c t l y , w i t h t h e a r c h d i o c e s e of R e i m s . M e t z is o n i t s p e r i p h e r y . I n t h i s b o o k I have c a l l e d it ' L a o n ' n o t a t i o n , after its most f a m o u s r e p r e s e n t a t i v e , a r e a . ( F o r a s u r v e y of s o u r c e s see H o u r l i e r 1 9 5 1 , ' M e s s i n e ' . ) T h e m o s t c h a r a c t e r i s t i c f e a t u r e of L a o n n o t a t i o n is t h e s m a l l h o o k o f t e n u s e d f o r t h e p u n c t u m (sometimes c a l l e d a n u n c i n u s ) . T h e v i r g a is u s u a l l y a l o n g flat S shape, manuscript L a o n , B i b l i o t h e q u e M u n i c i p a l e 2 3 9 , a n d b e c a u s e L a o n is r e a s o n a b l y c e n t r a l t o t h e

T a b l e I V . 2 . 2 . Palaeofrankish,

Laon, Breton, and Aquitanian Diisseldorf D . 1 L a o n 239

notational

signs Paris 1084

C h a r t r e s 47

1. virga 2. p u n c t u m 3. clivis 4. pes 5. porrectus 6. torculus 7. climacus 8. scandicus 9. q u i l i s m a 10. oriscus 11. liquescents

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M a p I V . 2 . 1 . Centres where L a o n notation was used

r a t h e r t h a n a s t r a i g h t l i n e ; it is h a r d l y e v e r seen e x c e p t i n c o m b i n a t i o n w i t h p u n c t u m , t o f o r m a pes o r o t h e r s i g n . T h e n o t a t i o n of the m a n u s c r i p t L a o n 2 3 9 (IV.3 and IV.5).

the

is of a c o m p l e x i t y a n d s o p h i s t i c a t i o n

c o m p a r a b l e o n l y w i t h t h a t of the S t G a l l m a n u s c r i p t s , a n d m o r e is s a i d a b o u t it b e l o w French-German n o t a t i o n s t a r t s its c l i v i s w i t h a n u p w a r d s t r o k e , b u t L a o n a n d

B r e t o n n o t a t i o n b e g i n i n s t e a d w i t h a s h o r t , a l m o s t h o r i z o n t a l m o v e m e n t of t h e p e n , s o m e t i m e s a s h a l l o w a r c w h i c h is c u r v e d i n t o w a r d s t h e f o l l o w i n g d o w n - s t r o k e . B r e t o n notation takes its n a m e f r o m the originate. area of north-west a survey Frence, Brittany, see Huglo whence 1963, practically a l l its s o u r c e s (For of s o u r c e s ,

' D o m a i n e ' . ) I n m a n y r e s p e c t s it b e a r s a r e s e m b l a n c e to L a o n n o t a t i o n , t h o u g h m u c h m o r e c o m p a c t i n o v e r a l l a p p e a r a n c e , a n d l a c k i n g the c h a r a c t e r i s t i c L a o n h o o k . It d o e s n o t h a v e a q u i l i s m a . T w o s i g n s are u s e d i n p l a c e s w h e r e , f r o m o t h e r m a n u s c r i p t s , o n e

w o u l d e x p e c t t o see a q u i l i s m a o r o r i s c u s , b u t t h e c o n v e n t i o n s g o v e r n i n g t h e i r u s e i n Breton notation are s l i g h t l y d i f f e r e n t . M u n i c i p a l e 47 Table (late IV.2.2 ninth shows the Breton destroyed signs in of Chartres, Bibliotheque century; 1944:

f a c s i m i l e i n P a l M u s 11). A l t h o u g h m a n y notations use c o m b i n a t i o n s of disjunct p u n c t a a n d v i r g a e as a s p e c i a l v a r i a n t i n s t e a d of t h e i r m o r e u s u a l c o n j u n c t f o r m s f o r c l i v i s , flexa, e t c . , f e w g o as f a r as t o m a k e t h e d i s j u n c t f o r m s t h e r u l e . T h i s is s o , h o w e v e r , w i t h A q u i t a n i a n s i g n s (see t h e s u r v e y i n P a l M u s 1 3 , b y F e r r e t t i ) . A g a i n t h e v i r g a is u s u a l l y f o u n d o n l y ' i n c o m p o s i t i o n ' w i t h o t h e r e l e m e n t s . T h e s i g n s i n T a b l e I V . 2 . 2 are d r a w n f r o m P a r i s , B i b l i o t h e q u e N a t i o n a l e , l a t . 1 0 8 4 ( P A u r i l l a c , t h e n L i m o g e s , late t e n t h and fall vertically (compare the c l i m a c u s a n d scandicus forms). century). It w i l l b e n o t i c e d that L a o n , B r e t o n , a n d A q u i t a n i a n n o t a t i o n s a l l r i s e d i a g o n a l l y

( i i i ) Types Related Facsimiles:

to French-German

Notation

(see Plate

5)

L o n d o n , B r i t i s h L i b r a r y , A d d . 30850 (north S p a n i s h ) : Antiphonale R o m e , B i b l i o t e c a A n g e l i c a 123 ( B o l o g n a ) : P a l M u s 18 Studies: Barezzani 1981 (Brescia). Signs of the F r e n c h - G e r m a n variety were also u s e d o u t s i d e

Silense

their 'home'

area.

U p r i g h t F r e n c h s h a p e s w e r e c o p i e d i n E n g l a n d i n t h e late t e n t h c e n t u r y ( s u m m a r y of s o u r c e s b y R a n k i n 1 9 8 7 ) ; a n d a l s o i n n o r t h I t a l y , at c e n t r e s s u c h as N o v a l e s a a n d A s t i , and, w i t h slightly more i n d i v i d u a l character, M o n z a a n d B o b b i o used the slanting G e r m a n Besides this, signs bearing a more general at B r e s c i a a n d M a n t u a . B y shapes. resemblance to t h e m a i n Frenchcontrast,

G e r m a n t y p e are f o u n d i n b o t h S p a i n a n d I t a l y . O f t h e t w o m a i n S p a n i s h t y p e s , t h a t u s e d i n n o r t h S p a i n h a d u p r i g h t s h a p e s , t h a t of T o l e d o a l m o s t h o r i z o n t a l n e u m e s . B o t h , h o w e v e r , are r e c o g n i z a b l y r e l a t e d to F r e n c h s i g n s , i n t h e i r u s e o f a v i r g a , a n d a n u p w a r d / f o r w a r d m o v e m e n t of t h e p e n at t h e start of c l i v i s a n d p o r r e c t u s . research is n e e d e d Further b e f o r e t h e i d e n t i f i c a t i o n a n d use of ' o r n a m e n t a l ' s i g n s i n t h e

Spanish notationsquilisma, oriscus, a n d liquescentsis properly understood. T h e l o n g , b o l d strokes used i n a w e l l - k n o w n source p r o b a b l y f r o m B o l o g n a , R o m e , B i b l i o t e c a A n g e l i c a 123 ( e l e v e n t h c e n t u r y ) , are also c l o s e r e l a t i v e s o f t h e F r e n c h G e r m a n t y p e . T h e n o t a t i o n is also f o u n d i n a s o u r c e p o s s i b l y f r o m M o d e n a ( f l y l e a v e s of M o d e n a , B i b l i o t e c a C a p i t o l a r e O . I . 13), a n d a n o t h e r s e e m i n g l y f r o m f a r t o t h e south, possibly from a monastic the house area i n the A b r u z z i , of north-east Rome, Biblioteca signs Apostolica which bear three V a t i c a n a , V a t . l a t . 4 7 7 0 ( c l o s e l y r e l a t e d b y r e p e r t o r y to B e n e v a n t a n Sources Catalan Spain have surprisingly little resemblance sources).

t o t h o s e of t h e A q u i t a n i a n a r e a . F o r e x a m p l e ,

vertically aligned puncta signify the ascending scandicus, not a descending climacus as i n A q u i t a n i a n n o t a t i o n ; a n d t h e r e is a p r e f e r e n c e f o r c o n j u n c t f o r m s . C a t a l a n s i g n s are u n l i k e o t h e r t y p e s i n a s c e n d i n g v e r t i c a l l y b u t d e s c e n d i n g o n a v e r y s h a l l o w i n c l i n e .

352

IV.

Notation notation T o l e d o 35. 7 A n g e l i c a 123 G i r o n a 20

T a b l e I V . 2 . 3 . Signs related to French-Gennan Leon 8

1. virga 2. p u n c t u m 3. clivis 4. pes 5. porrectus 6. torculus 7. climacus 8-. scandicus 9. q u i l i s m a 10. oriscus 11. liquescents

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C a t a l a n n o t a t i o n has b e e n s t u d i e d b y M a s ( 1 9 8 8 ) . T h e s i g n s i n T a b l e d r a w n f r o m G i r o n a , S a n t F e l i u 2 0 ( e l e v e n t h to t w e l f t h c e n t u r y ) .

IV.2.3

are

(iv) Other Italian Facsimiles:

Notations

(see Plates

11-13)

Benevento, A r c h i v i o Capitolare 33 (Beneventan): P a l M u s 20 Benevento, A r c h i v i o C a p i t o l a r e 34 (Beneventan): P a l M u s 15 L o n d o n , B r i t i s h L i b r a r y , A d d . 34209 ( M i l a n e s e ) : P a l M u s 5 L u c c a , B i b l i o t e c a C a p i t o l a r e 601 (central Italian): P a l M u s 9 R o m e , B i b l i o t e c a Casanatense 1741 ( N o n a n t o l a n ) : V e c c h i 1955 R o m e , B i b l i o t e c a A p o s t o l i c a Vaticana, V a t . lat. 10673 (Beneventan): private collection of M a r t i n B o d m e r , C . 74 ( R o m a n ) : L u t o l f 1987 Studies: H u g l o et al. 1956 (Milanese) M o d e r i n i 1970 ( N o n a n t o l a )
y

P a l M u s 14

Besides Como,

F r e n c h or G e r m a n shapes,

o t h e r n o t a t i o n s w e r e also a d o p t e d i n I t a l y . A t S e s i n i 1 9 3 2 ) , B r e t o n o n e s at P a v i a

L a o n s i g n s i n f l u e n c e d the n o t a t i o n (see

( H u g l o 1963, This is b u t

' D o m a i n e ' ) . D i s j u n c t f o r m s ( n o t at first s i g h t s i m i l a r to A q u i t a n i a n one of m a n y centres whose notation does not reflect the influences

s i g n s , h o w e v e r ) w e r e p r e f e r r e d i n the v e r y i n d i v i d u a l s t y l e p r a c t i s e d at N o n a n t o l a . d i s c e r n i b l e i n its r e p e r t o r y , f o r the m o n a s t e r y t o o k o v e r m u c h of t h e German/Swiss

t r o p e a n d s e q u e n c e r e p e r t o r y . T h e n o t a t i o n is r e l a t e d to t h a t f o u n d at T o r c e l l o , a n d also a p p e a r s o c c a s i o n a l l y i n V e r o n a m a n u s c r i p t s . T h e s i g n s i n T a b l e I V . 2 . 4 are d r a w n from Rome, Biblioteca Casanatense 1741 (twelfth century). A p e c u l i a r feature of N o n a n t o l a n n o t a t i o n is t h e w a y i n w h i c h l e t t e r s i n the t e x t w e r e p r o v i d e d w i t h l o n g e x t e n s i o n s to a h e i g h t a p p r o p r i a t e f o r the n o t e b e i n g s u n g ( w h i c h c o u l d o n l y b e d o n e , of c o u r s e , f o r the first n o t e of e a c h s y l l a b l e ) . S o u r c e s f r o m m a n y I t a l i a n c e n t r e s h a v e h a r d l y s u r v i v e d at a l l b e f o r e t h e t i m e w h e n s t a f f - n o t a t i o n c a m e i n t o use ( e l e v e n t h c e n t u r y o r l a t e r ) . G e n e r a l l y s p e a k i n g , t h e use of a staff o f t e n s e e m s to h a v e a f f e c t e d the n o t a t i o n a l s i g n s , c a u s i n g t h e a p p e a r a n c e of

Table IV.2.4.

Other Italian

notations

Cas. 1741

S.Amb.
M.29

Padua A .47 1

Pistoia C.121

Vat. lat. 5319

Vat. lat 10673

1. virga 2. p u n c t u m 3. clivis 4. pes 5. porrectus 6. torculus 7. climacus 8. scandicus 9. q u i l i s m a 10. oriscus 11. liquescents

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more o b v i o u s heads and other precisely placed p e n - m a r k s . Sources f r o m M i l a n s h o w t h i s , t h e i r s i g n s o f t e n b e i n g l i t t l e g r o u p s o f t i n y w a v e d s t r o k e s , j o i n e d b y fine l i n e s . (See examples in Table 29.) IV.2.4, from the twelfth-century manuscript Milan, Sant'Ambrogio M .

M a n y I t a l i a n s o u r c e s are d i s t i n g u i s h e d b y a c o n j u n c t s c a n d i c u s , a n d t h e h o r i z o n t a l b a r at t h e start of t h e c l i v i s is a n o t h e r d i a g n o s t i c f e a t u r e . I n m o s t r e s p e c t s t h e r e is l i t t l e to c h o o s e , as f a r as t h e b a s i c s h a p e of the s i g n s is c o n c e r n e d , b e t w e e n t h e m a j o r i t y of s o u r c e s w r i t t e n s o u t h of a l i n e d r a w n b e t w e e n L u c c a i n t h e west a n d R a v e n n a i n t h e east, e x c e p t i n g t h o s e t y p e s a l r e a d y m e n t i o n e d . F o r w a n t of a m o r e a c c u r a t e t e r m , I have referred to this family as central Italian notation. Of course, there are the differences, s u c h as t h e g r e a t v a r i e t y of l i q u e s c e n t shapes i n m a n u s c r i p t s of

M o n t e c a s s i n o a n d B e n e v e n t o a r e a . V a r i a t i o n i n s u c h m a t t e r s as t h e t h i c k n e s s o f t h e p e n o f t e n has a s t r o n g e f f e c t o n t h e v i s u a l aspect of the s i g n s . O n e w o u l d n o t r e a d i l y c o n f u s e t h e b o l d s t r o k e s of l a t e r B e n e v e n t a n s o u r c e s f o r a n y o t h e r s . A l o n g s i d e the N o n a n t o l a a n d M i l a n examples already m e n t i o n e d , T a b l e A. 47, twelfth century), Pistoia, Biblioteca Capitolare C. 121 (Pistoia, IV.2.4 twelfth lat. gives some t y p i c a l shapes f r o m sources f r o m R a v e n n a ( P a d u a , B i b l i o t e c a C a p i t o l a r e c e n t u r y ) , R o m e , B i b l i o t e c a A p o s t o l i c a V a t i c a n a , V a t . l a t . 5319 ( O l d R o m a n , t w e l f t h c e n t u r y ) , a n d t h e r e g i o n of B a r i ( R o m e , descent is i m p o r t a n t (particularly i n the Biblioteca Apostolica Vaticana, Vat. climacus; the Milanese source 1 0 6 7 3 , e l e v e n t h c e n t u r y ) . T h e v a r i a t i o n b e t w e e n s o u r c e s i n the a n g l e of a s c e n t a n d usually descends v e r t i c a l l y , b u t after a t o r c u l u s the p o i n t s c o n t i n u e d i a g o n a l l y ) .

(v) Ex.

Examples IV.2.1 gives another s p e c i m e n of F r e n c h n o t a t i o n , l i k e t h a t i n t h e previous tenth as

chapter, ille

but f r o m a d i f f e r e n t s o u r c e : the M o n t - R e n a u d m a n u s c r i p t ( C o r b i e , i n staff n o t a t i o n are c o p i e d i n p a r a l l e l w i t h 160 (Worcester, thirteenth century) 17296 ( S a i n t - D e n i s , it: Worcester, and Paris,

c e n t u r y : see a b o v e , T a b l e I V . 2 . 1 ) . T w o o t h e r v e r s i o n s of the s a m e a n t i p h o n , Beat servus, Chapter Library F.

Cathedral

Bibliotheque

N a t i o n a l e , lat.

late t w e l f t h c e n t u r y ) . T h e n o t a t i o n of m o d e r n

S o l e s m e s / V a t i c a n b o o k s w a s d e v e l o p e d f r o m the s i g n s i n m a n u s c r i p t s s u c h as t h e s e . T h e n e u m e s of t h e C o r b i e m a n u s c r i p t i n c l u d e b o t h p u n c t u m ( d o t ) a n d t r a c t u l u s ( d a s h ) , a l w a y s f o u n d e i t h e r f o r r e l a t i v e l y l o w i s o l a t e d n o t e s , o r as t h e l o w e r e l e m e n t i n a p e s . I n s o m e s o u r c e s it s e e m s that t h e t r a c t u l u s s i g n i f i e s a l o n g e r n o t e t h a n punctum, or a stressed note (see IV.4). It will be noticed that there p r o p o r t i o n a t e l y m o r e virgae than p u n c t a : evidently the scribe p r e f e r r e d to the are

reserve

the p u n c t u m / t r a c t u l u s f o r o n l y the l o w e s t n o t e ( s ) of a s e c t i o n , r a t h e r t h a n r e s e r v i n g t h e v i r g a f o r o n l y the h i g h e s t n o t e ( s ) . T h e p u n c t u m H - v i r g a f o r m of t h e p e s is u s e d w h e n t h e pes b e g i n s at a l o w e r p i t c h t h a n the p r e c e d i n g n o t e . T h e f o r m w i t h t w o v i r g a e is u s e d w h e n t h e r e is a rise to the start of the p e s . B e t w e e n t h e t w o l a t e r v e r s i o n s i n s t a f f - n o t a t i o n t h e r e are i n t e r e s t i n g discrepancies. ( T h e s e are c o m m o n e n o u g h f o r office c h a n t s : see the m u c h m o r e d i s p a r a t e v e r s i o n i n

E x . I V . 2 . 1 . A n t i p h o n Beatus

Hie seivus

( M o n t - R e n a u d m a n u s c r i p t , fo. 119 ;
v v

Worcester,

C a t h e d r a l C h a p t e r L i b r a r y F . 160, p. 427; Paris, B i b l . N a t . lat. 17296, fo. 282 )

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y-lA/ 6 7 1 , b a s e d o n t h e S t G a l l v e r s i o n . ) T h e W o r c e s t e r s o u r c e is g e n e r a l l y c l o s e r to w h a t is i n d i c a t e d b y t h e s i g n s of t h e C o r b i e m a n u s c r i p t ( l i q u e s c e n t f o r m 4- p u n c t u m f o r Hie, e t c . ; see a l s o t h e d i f f e r e n c e s i n w o r d i n g ) . B u t it d o e s n o t u s u a l l y e m p l o y t h e p u n c t u m ( s q u a r e ) as o p p o s e d to the v i r g a ( s q u a r e w i t h t a i l ) . T h e S a i n t - D e n i s s o u r c e is n o t so c l o s e t e x t u a l l y a n d m e l o d i c a l l y , b u t m a k e s use of t h e p u n c t u m f o r t h e l o w notes. N o t a l l n o t a t i o n s use t h e v i r g a as a n i s o l a t e d n o t e . E x . I V . 2 . 2 g i v e s t h e c o m m u n i o n Quis dabit ex Sion f r o m five d i f f e r e n t m a n u s c r i p t s . A t t h e f o o t are t h e p i t c h e s g i v e n i n S a i n t - B e n i g n e at Dijon, same the F a c u l t e de M e d e c i n e H . 1 5 9 ; a b o v e it are t h e n e u m e s of t h e A b o v e t h e s e are l e t t e r n o t a t i o n b y the e l e v e n t h - c e n t u r y m a n u s c r i p t f r o m Montpellier,

m a n u s c r i p t (occasionally d i f f e r i n g s l i g h t l y f r o m the letters).

n e u m e s of f o u r o t h e r m a n u s c r i p t s of t h e late n i n t h to t h e e l e v e n t h c e n t u r i e s . T h e r e is no isolated virga i n either P a r i s , B i b l i o t h e q u e N a t i o n a l e , lat. 776 f o u n d o n l y i n E i n s i e d e l n , S t i f t s b i b l i o t h e k 121 ( F r e n c h ) . T h e r e is n o q u i l i s m a (see 41) ( A q u i t a n i a n ) or 159 47 L a o n , B i b l i o t h e q u e M u n i c i p a l e 2 3 9 ( L a o n ) . T h e a p o s t r o p h a (see 3 a n d 40) is to b e (German) and Montpellier H . i n Chartres, Bibliotheque Municipale

( B r e t o n ) , a n d o n l y M o n t p e l l i e r H . 159 uses t h e o r i s c u s ( e n d of 3 6 , m i d d l e o f 4 4 ) .

356

IV.

Notation

E x . I V . 2 . 2 . C o m m u n i o n Quis dabit ex Sion (P = P a r i s , B i b l . N a t . lat. 776; C = C h a r t r e s , B i b l . M u n . 47; L = L a o n , B i b l . M u n . 239; E = E i n s i e d e l n , S t i f t s b i b l . 121; M = M o n t p e l l i e r , Faculte de M e d e c i n e H . 159)

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IV.3.

L I Q U E S C E N C E ,

O R I S C U S , Q U I L I S M A ; S I G N S

O T H E R

S P E C I A L (i) S i g n s for Liquescence (ii) Q u i l i s m a (iii) O r i s c u s

(iv) V i r g a strata, Pressus, Pes stratus, Pes quassus, S a l i c u s (i) Signs for Liquescence

M o c q u e r e a u i n P a l M u s 2 ; Freistedt 1929; G o s c h l 1980; H i l e y 1984. L o o k i n g o n c e a g a i n at E x . I V . 2 . 1 , o n e n o t i c e s t h a t t h e r e a r e n o l i q u e s c e n t s i g n s i n t h e S a i n t - D e n i s version, a n d o n l y one i n the Worcester c o p y , at ' i l l e ' . T h e Corbie m a n u s c r i p t h a s t h a t o n e , a n d o t h e r s at ' s e r ( v u s ) ' , ' c u m ' , ' e i ( u s ' ) , a n d 'et'. S i g n s f o r l i q u e s c e n c e o c c u r m o s t o f t e n w h e r e i n t h e t e x t t h e r e is a c o n j u n c t i o n o f a l i q u i d c o n s o n a n t f o l l o w e d b y a n o t h e r c o n s o n a n t . T h e t w o /'s o f ' i l l e ' , ' r v ' i n ' s e r v u s ' , a n d ' m v ' i n ' c u m v e n e r i t ' are t y p i c a l e x a m p l e s . D i p h t h o n g s u s u a l l y c a l l f o r t h a l i q u e s c e n t s i g n , as at ' e i u s ' . Q u i t e o f t e n o n l y o n e c o n s o n a n t m a y b e p r e s e n t . I t is n o t u n c o m m o n also to f i n d l i q u e s c e n t s w i t h t h e s y l l a b l e 'et', a n d t h e r e are o t h e r i n s t a n c e s w h e r e n e i t h e r a l i q u i d c o n s o n a n t n o r a d i p h t h o n g seems to be i n v o l v e d . T h i s m a y , h o w e v e r , i n d i c a t e that the consonants i n q u e s t i o n were actually liquescent w h e n the m a n u s c r i p t was b e i n g w r i t t e n s u c h d i f f e r e n c e s of p r o n u n c i a t i o n are s t i l l c o m m o n t o d a y f r o m a r e a t o a r e a , so t h a t , f o r e x a m p l e , i n B e r l i n g is p r o n o u n c e d l i k e a n E n g l i s h j ; : ' W e n n d i e J e m s e n s p r i n g e n uber Berjesjipfel . . .' T h e m a n n e r of p e r f o r m a n c e of l i q u e s c e n t s i g n s is n o t e n t i r e l y c l e a r . A p a s s i n g - n o t e of s o m e sort s e e m s to b e i n v o l v e d , s i n c e m a n y m a n u s c r i p t s w i l l r e c o r d a n o r d i n a r y n e u m e ( s a y , of t w o n o t e s ) w h e r e o t h e r s h a v e a l i q u e s c e n t ( o n e n o t e 4- ' p a s s i n g - n o t e ' ) . T h e l i q u e s c e n t n o t e itself m a y i n s o m e cases h a v e b e e n s u n g ' t h r o u g h ' t h e c o n s o n a n t , as it w e r e , v o c a l i z e d to /, m, n, o r r ( t h e m o s t c o m m o n s i t u a t i o n s ) . A s G u i d o o f A r e z z o s a i d : ' A t m a n y p o i n t s n o t e s l i q u e s c e l i k e t h e l i q u i d l e t t e r s , so t h a t t h e i n t e r v a l f r o m o n e n o t e t o a n o t h e r is b e g u n w i t h a s m o o t h g l i d e a n d d o e s n o t a p p e a r t o h a v e a s t o p p i n g p l a c e e n r o u t e ' ( t r a n s . B a b b 1978, 7 2 ) . Comparisons between sources indicate that the use of l i q u e s c e n t signs was i n c o n s i s t e n t , as i n E x . I V . 2 . 1 . T h i s t o o is s t a t e d b y G u i d o , w h o continues: 'If,

h o w e v e r , y o u w i s h to p e r f o r m [an e x a m p l e ] m o r e f u l l y , n o t l i q u e s c i n g , n o h a r m is d o n e , i n d e e d , it is o f t e n m o r e p l e a s i n g . ' S o t h e s i g n s a r e t h e r e as r e m i n d e r s , t h o u g h n o t w o scribes w o u l d p u t t h e m i n exactly the same places, r a t h e r i n the w a y that t h e r h y t h m i c n u a n c e s d i s c u s s e d b e l o w ( I V . 5 ) are n o t r e c o r d e d i d e n t i c a l l y i n d i f f e r e n t m a n u s c r i p t s . M o n t p e l l i e r , F a c u l t e d e M e d e c i n e H . 159 s e e m s t o b e a m o d e r a t e l y g e n e r o u s s o u r c e , b u t is e a s i l y s u r p a s s e d b y , f o r e x a m p l e , t h e e a r l y S t G a l l s o u r c e s , a n d e s p e c i a l l y b y t h o s e of s o u t h e r n I t a l y , w h i c h h a v e a n u n r i v a l l e d v a r i e t y of l i q u e s c e n t shapes.

T h e w r i t t e n f o r m of t h e n o t e i n s q u a r e n o t a t i o n of t h e t h i r t e e n t h c e n t u r y a n d l a t e r c a m e t o b e c a l l e d t h e plica ('fold').

(ii)

Quilisma 1966. d e p i c t t h e q u i l i s m a as a w a v y s h a p e e n d i n g i n a l o n g e r ascending

Wiesli

T h e sign-tables

s t r o k e . T h i s is t r a n s l a t e d as t w o n o t e s i n t h e M o n t p e l l i e r l e t t e r n o t a t i o n , t h e f i r s t b e i n g t h e s p e c i a l w a v y o n e , t h e s e c o n d h i g h e r . T h e n a m e s e e m s to r e f e r to t h e w a v y n o t e i n particular. I n m o s t m a n u s c r i p t s t h e q u i l i s m a is n e a r l y a l w a y s u s e d f o r the m i d d l e n o t e i n a n ascending-third formation, sometimes d e r i v e f r o m t h e G r e e k kylisma do not elucidate tremula its n a t u r e o n l y f o r a m i n o r t h i r d . T h e n a m e s e e m s to ('to r o l l ' ) . M e d i e v a l w r i t e r s o n m u s i c i n t h e m i d d l e of t h e ninth uses t h e w o r d 'can[ticum repeated, IV.3.1 and ( ' r o l l i n g ' ) , kylio

very m u c h . F o r example,

c e n t u r y , w h e n n o t a t i o n itself w a s r e l a t i v e l y r a r e , A u r e l i a n of R e o m e g r a d u a l Exultabunt sancti V . Cantate domino,

t o d e s c r i b e a p a s s a g e u s u a l l y later n o t a t e d w i t h a q u i l i s m a . S p e a k i n g of t h e at t h e p a s s a g e b e g i n n i n g flexibilis est m o d u l a t i o , d u p l i c a t a , q u a e i n f l e x i o n e

n o v u m ] ' h e s a y s ( C h . X I I I ) : '. . .

t r e m u l a e m i t t i t u r v o x n o n g r a v i s s o n o r i t a s . . . ' ( ' . . . t h e m e l o d y is f l e x i b l e , gives the s i g n s i n M o n t p e l l i e r H . 159, 359. Laon, Bibliotheque

w h e r e a s o u n d , n o t l o w , is g i v e n f o r t h w i t h a t r e m u l o u s i n f l e x i o n . . . ' ) . E x . St G a l l , S t i f t s b i b l i o t h e k

M u n i c i p a l e 239,

It has b e e n s u g g e s t e d t h a t t h e q u i l i s m a m i g h t i n v o l v e a p o r t a m e n t o d e l i v e r y , o r o n e w i t h s e m i t o n e steps f i l l i n g i n the larger intervals, or a g r u p p e t t o o r n a m e n t . I n those m a n u s c r i p t s w h e r e its use is r e s t r i c t e d to the m i n o r - t h i r d p r o g r e s s i o n , it c o n s t i t u t e s a s i g n f o r t h e s e m i t o n e s t e p , a n d m a y t h e r e f o r e h a v e b e e n u s e d s p e c i f i c a l l y to l o c a t e the melody tonally. T h e sign. i d e a t h a t the q u i l i s m a w a s p r i m a r i l y of r h y t h m i c significance ( W i e s l i , C a r d i n e 1968, e t c . ) d o e s not s e e m s u f f i c i e n t to e x p l a i n the s p e c i a l s h a p e of the

Ex. IV.3.1.

F r o m gradual Exultabunt

sancti V . Cantate

Domino

Laon 239

p.137

neumes suggested transcription

St.Gall 359

p.125

neumes suggested transcription

Mi/

Ut/"''

Montpellier p.154

neumes letter notation

*2
w
9

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lip

(iii)

Oriscus ('a l i t t l e h i l l ' ) has b e e n

T h e d e r i v a t i o n of t h e w o r d is o b s c u r e : p s e u d o - G r e e k oriscos s u g g e s t e d , o r hows

('a l i m i t ' ) . T h e o r i s c u s d o e s n o t u s u a l l y s t a n d a l o n e , b u t , l i k e the w h e r e t h e m i d d l e n o t e is a n o r i s c u s (see t h r e e i n s t a n c e s i n

w a v y c o m p o n e n t of t h e q u i l i s m a , c o m e s i n f o r m a t i o n w i t h o t h e r e l e m e n t s , t y p i c a l l y i n a figure s u c h as a-a-G, Ex. IV.1.1).

T h e o r i s c u s is u s e d i n t h e M o n t p e l l i e r c o d e x o n l y as a r e p e a t of t h e p r e v i o u s p i t c h : at least, so it s e e m s w h e n o n e c o m p a r e s o t h e r s o u r c e s . I n f a c t , i n t h e l e t t e r n o t a t i o n u n d e r n e a t h t h e m u s i c a l s i g n s i n t h i s m a n u s c r i p t , t h e r e is n o l e t t e r f o r t h e o r i s c u s , o n l y a w a v y l i n e to s h o w t h a t ' s o m e t h i n g ' is s u n g . I t s h o u l d a l s o b e b o r n e i n m i n d t h a t repeated notes can be s h o w n b y other means, for example by p l a c i n g a virga or p u n c t u m close to t h e p r e c e d i n g s i g n . It has t h e r e f o r e b e e n s u g g e s t e d t h a t s o m e s p e c i a l v o c a l d e l i v e r y w a s i n v o l v e d . If n o t , w h y use t h e s p e c i a l s i g n ? W a g n e r believed that a non-diatonic p i t c h was i n v o l v e d . T h i s was because figures n o t e w e r e a c t u a l l y i n b e t w e e n . O n c e a g a i n t h e s e m i t o n e s t e p is i n v o l v e d . C a r d i n e b e l i e v e d i t s s i g n i f i c a n c e w a s r h y t h m i c , d i r e c t i n g r h y t h m i c w e i g h t to t h e s u c c e e d i n g n o t e , w h i c h is v e r y o f t e n l o w e r . W h e t h e r t h i s r h y t h m i c n u a n c e is s u f f i c i e n t j u s t i f i c a t i o n f o r t h e u s e of a s p e c i a l s i g n is d e b a t a b l e (see E x . I V . 3 . 2 . E x a m p l e s of oriscus
from Gradual Eripe me V . Liberator meus

of

l i k e t h o s e i n E x . I V . 3 . 2 , w h e r e t h e o r i s c u s is n o w o n b, n o w o n c, as i f t h e ' t r u e '

IV.5).

St.Gall

359

p.85

P
exalta-bis

Montpellier

p.161

from Canticum Attende caelum

Laon 239

p. 101

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St.Gall

359

p. 104

. J *

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f.66v V. Expec-te-tur sicut plu-ui-a

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m a n y sources

the o r i s c u s c a n be f o u n d i n places

where the text

suggests

l i q u e s c e n c e , p e r h a p s t h e r e f o r e a s o r t of l i q u e s c e n c e at t h e u n i s o n .

( i v ) Virga

strata,

Pressus,

Pes stratus,

Pes quassus,

Salicus

C a r d i n e 1968. A n u m b e r of s p e c i a l s i g n s p e c u l i a r t o t h e S t G a l l m a n u s c r i p t s a n d t h o s e c l o s e l y r e l a t e d to t h e m a p p e a r t o i n v o l v e t h e o r i s c u s . A v i r g a f o l l o w e d b y a n o r i s c u s w a s u s u a l l y r u n t o g e t h e r i n t o o n e s i g n , t h e v i r g a s t r a t a . T h i s s i g n h a s also b e e n c a l l e d t h e f r a n c u l u s , b u t H u g l o ( 1 9 5 4 , ' N o n a s ' , 65) q u e s t i o n s t h e c o r r e c t n e s s some special vocal effect. O n t h e s h o r t e r s i g n - t a b l e , t h e o r i s c u s f o l l o w e d b y a p u n c t u m is c a l l e d a p r e s s u s m i n o r , the v i r g a strata f o l l o w e d b y a p u n c t u m a pressus m a i o r . A p e s f o l l o w e d b y a n o r i s c u s is r u n t o g e t h e r i n t o o n e s i g n , c a l l e d a p e s s t r a t u s , j u s t as h a p p e n s t o t h e v i r g a a l o n e . The pes quassus appears t o b e a p e s of w h i c h the first note is a n o r i s c u s . S o m e t i m e s , h o w e v e r , t h r e e n o t e s are f o u n d i n o t h e r s o u r c e s , so that t h e p e s q u a s s u s w o u l d b e a p e s w i t h a n e x t r a o r i s c u s b e t w e e n t h e t w o n o r m a l n o t e s . It i s o f t e n f o u n d at the b e g i n n i n g of phrases i n m o d e 3 introits, where other m a n u s c r i p t s have a n o p e n i n g . S o t h e s e m i t o n e s t e p is a g a i n i n v o l v e d . T h e s a l i c u s is a t h r e e - n o t e a s c e n d i n g figure w h e r e t h e m i d d l e n o t e i s a n o r i s c u s . I t s n a t u r e is p u z z l i n g , b e c a u s e it c a n b e f o u n d i n s i t u a t i o n s w h e r e o t h e r s o u r c e s have: (a) t w o u n i s o n n o t e s f o l l o w e d b y a h i g h e r o n e ; (b) a n o r m a l s c a n d i c u s , t h a t i s , t h r e e n o t e s i n a s c e n d i n g o r d e r ; (c) a q u i l i s m a i n t h r e e - n o t e a s c e n d i n g f o r m a t i o n . C a r d i n e ( 1 9 6 8 ) b e l i e v e d i t s c h i e f s i g n i f i c a n c e w a s r h y t h m i c , a n d t h a t t h e o r i s c u s , as u s u a l i n C a r d i n e ' s i n t e r p r e t a t i o n , d i r e c t e d r h y t h m i c weight o n to the s u c c e e d i n g note. To d i s t i n g u i s h it f r o m t h e q u i l i s m a , w h i c h C a r d i n e i n t e r p r e t e d s i m i l a r l y , h e p o i n t e d t o i t s t o n a l p o s i t i o n : t h e o r i s c u s e l e m e n t i n t h e s a l i c u s f a l l s c h i e f l y o n / a n d c, t h e w a v y e l e m e n t of t h e q u i l i s m a b y c o n t r a s t f a l l s c h i e f l y o n E a n d b; f u r t h e r m o r e , t h e n o t e preceding the wavy element i n t h e q u i l i s m a is u s u a l l y l o n g o r s t r e s s e d . (See the c o m p a r i s o n s p u b l i s h e d b y W i e s l i 1966, c h . 6 ; s t u d i e s of t h e s a l i c u s i n L a o n 2 3 9 a n d S t G a l l 3 5 9 h a v e b e e n p u b l i s h e d b y P i c o n e 1977 a n d P o n c h e l e t 1 9 7 3 , r e s p e c t i v e l y . ) W i t h o u t a t t e m p t i n g to adjudicate a m o n g the different possible interpretations here, the m o s t c o m m o n c h a r a c t e r i s t i c s associated w i t h a l l the n e u m e s i n v o l v i n g the o r i s c u s , a n d also t h e q u i l i s m a , are (i) f r e q u e n t o c c u r r e n c e at t h e s e m i t o n e s t e p , ( i i ) s p e c i a l v o c a l d e l i v e r y , ( i i i ) C a r d i n e ' s i d e a o f r h y t h m i c d r i v e to t h e s u c c e e d i n g n o t e . T h e s i g n s are g i v e n i n T a b l e I V . 3 . 1 , w h i c h s h o w s t h e S t G a l l f o r m , t h e u s u a l e q u i v a l e n t s i n L a o n 239, a n d the f o r m of t r a n s c r i p t i o n used i n this b o o k . W a g n e r c a l l e d a l l t h e l i q u e s c e n t n e u m e s a n d those i n v o l v i n g a p o s t r o p h e , o r i s c u s , q u i l i s m a , w i t h t h e t r i g o n as w e l l , ' H a k e n n e u m e n ' ( ' h o o k - n e u m e s ' ) , because i n the S t G a l l s o u r c e s t h e i r s h a p e s n e a r l y a l w a y s i n c l u d e at least o n e s m a l l s e m i c i r c l e o r h o o k E-E-F of this i d e n t i f i c a t i o n . T h e n a m e f o r t h i s s i g n o n t h e l o n g e r s i g n - t a b l e is g u t t u r a l i s ( ' t h r o a t y ' ) , w h i c h m a y i m p l y

4.

The

Origins

of Chant

Notation notation Transcription

T a b l e I V . 3 . 1 . Special signs in St Gall and Laon St G a l l virga strata/gutturalis pressus m i n o r pressus maior pes stratus pes quassus salicus </
/

Laon

r
r.

rT

\
*
0

( W a g n e r I I , c h . 8 ) . T h u s t h e a p o s t r o p h e ( u s e d p r i n c i p a l l y S t G a l l , less f r e q u e n t l y i n o t h e r F r e n c h - G e r m a n n o t a t i o n s ) is u s e d p r i n c i p a l l y f o r r e p e a t e d n o t e s o n c a n d o t h e r p i t c h e s at t h e s e m i t o n e , i n s u c h c h a n t s as g r a d u a l s . T h e t r i g o n ( t h r e e d o t s set o u t i n t r i a n g u l a r f o r m a t i o n ) w a s u s e d f o r a f i g u r e s u c h as b-c-a derived, Wagner believed, f r o m the apostrophe o r c-c-a. T h e s e signs all For sign (*Haken' in G e r m a n ) .

W a g n e r t h e i r f r e q u e n t o c c u r r e n c e at t h e s e m i t o n e s t e p w a s c r u c i a l , a n d he b e l i e v e d that c h r o m a t i c progressions, perhaps even i n v o l v i n g quarter-tones, While one must certainly reckon with the possibility that the were indicated. m a t c h i n g of the many

p l a i n c h a n t r e p e r t o r y t o t h e d i a t o n i c scale m a y h a v e b e e n i m p e r f e c t , so t h a t

m e l o d i e s i n c l u d e d n o n - d i a t o n i c p r o g r e s s i o n s , t h e e v i d e n c e of t h e p l a i n c h a n t s o u r c e s t h e m s e l v e s h a s so far b e e n i n c o n c l u s i v e , a n d t h e s t a t e m e n t s of m e d i e v a l w r i t e r s o n m u s i c too i n s u b s t a n t i a l to s u p p o r t W a g n e r ' s t h e o r y . A l t h o u g h the neumes discussed i n this section have been c a l l e d 'special' (sometimes ' o r n a m e n t a l ' ) , t h e y are f u l l y i n t e g r a t e d i n t o the n o t a t i o n of t h e e a r l i e s t s o u r c e s . It is o n l y f r o m t h e m o d e r n p o i n t of v i e w t h e y h a d g e n e r a l l y f a l l e n o u t o f use b y t h e e n d of t h e M i d d l e A g e s t h a t t h e y are ' a b n o r m a l ' , b e c a u s e it is h a r d to m a t c h t h e m to t h e u n e q u i v o c a l b u t r e s t r i c t e d v o c a b u l a r y of later n o t a t i o n .

IV.4. (i) I n t r o d u c t i o n

T H E O R I G I N S O F C H A N T

N O T A T I O N

(ii) E a r l y E x a m p l e s (iii) E a r l y References to N o t a t i o n (iv) Parallel Systems (a) Prosodic A c c e n t s (b) P u n c t u a t i o n (c) E k p h o n e t i c N o t a t i o n (d) Byzantine N o t a t i o n

(v) T h e ' C h e i r o n o m i c ' T h e o r y (vi) T h e E a r l y T r a n s m i s s i o n of Chant (vii) S o m e C o n c l u s i o n s

(i)

Introduction F o u r m a i n t y p e s of e v i d e n c e m a y be The

T h e o r i g i n s of m u s i c a l n o t a t i o n are o b s c u r e .

c o n s i d e r e d . T h e first is t h e e v i d e n c e of a c t u a l e x a m p l e s of m u s i c a l n o t a t i o n . H o w o l d are t h e y ? a n d d o e s a n y t h i n g a b o u t t h e m suggest a p r e v i o u s stage of d e v e l o p m e n t ? s e c o n d t y p e of e v i d e n c e is t h e i n f o r m a t i o n g i v e n a b o u t n o t a t i o n b y m e d i e v a l w i n t e r s . T h e t h i r d lies i n t h e e x i s t e n c e of p a r a l l e l o r c o m p a r a b l e s y s t e m s of s i g n s to g u i d e v o c a l p e r f o r m a n c e , w h i c h m i g h t p o s s i b l y h a v e s u g g e s t e d o r l e d to the n e u m a t i c n o t a t i o n of W e s t e r n c h a n t : p u n c t u a t i o n signs, oratorical accents, B y z a n t i n e ekphonetic n o t a t i o n , B y z a n t i n e c h a n t n o t a t i o n . T h e f o u r t h t y p e of e v i d e n c e is c i r c u m s t a n t i a l . T h e earliest been n o t a t i o n is a r e c o r d of p l a i n c h a n t m e l o d i e s . T h e s e m e l o d i e s h a d p r e v i o u s l y

p e r f o r m e d , l e a r n e d , a n d t r a n s m i t t e d w i t h o u t t h e a i d of a n y w r i t t e n r e c o r d ( a n d t h u s t h e y c o n t i n u e d , to a c o n s i d e r a b l e e x t e n t ) . I n t h e s e c i r c u m s t a n c e s , o n e w o u l d e x p e c t d i f f e r e n t s i n g e r s t o p e r f o r m the m e l o d i e s i n d i f f e r e n t w a y s . A n d c o n v e r s e l y , w h e n a written transmission b e c a m e n o r m a l , one would e x p e c t the differences to have d i m i n i s h e d , o r e v e n d i s a p p e a r e d . If w e c o m p a r e o u r m e d i e v a l m a n u s c r i p t s , d o w e see e v i d e n c e of t h e u n i t y a t t r i b u t a b l e to w r i t t e n t r a n s m i s s i o n , o r t h e v a r i e t y p r o d u c e d b y oral tradition? ( i i ) Early Examples

T h e e a r l i e s t e x a m p l e s of c h a n t n o t a t i o n are the earliest m u s i c a l n o t a t i o n of a n y k i n d i n W e s t e r n E u r o p e . T h e y are g e n e r a l l y d a t e d i n the n i n t h c e n t u r y . O n l y i s o l a t e d c h a n t s o r s m a l l g r o u p s of p i e c e s are n o t a t e d . T h e r e a s o n f o r c o p y i n g t h e m is p r o b a b l y t h a t they were unusual in some w a y ; e i t h e r (a) they were an u n u s u a l a d d i t i o n to the n o r m a l r e p e r t o r y , a n d t h u s r e q u i r e d a s p e c i a l r e c o r d to be m a d e , o r (b) sight, therefore, their music chant 1987,

w a s e x c e p t i o n a l i n c o m p a r i s o n w i t h w h a t was n o r m a l l y e x p e c t e d of t h e s i n g e r . A t first it d o e s n o t l o o k as if it w e r e a g e n e r a l c u s t o m to n o t a t e t h e although L e v y (1987, ' O r i g i n ' , r e p e r t o r y as a w h o l e i n t h e n i n t h c e n t u r y ,

' A r c h e t y p e ' ) has a r g u e d t h a t a n o t a t e d e x e m p l a r f o r m a s s c h a n t s w a s m a d e as e a r l y as a r o u n d 8 0 0 . T h e t h r e e e a r l i e s t s u r v i v i n g b o o k s c o n t a i n i n g a y e a r ' s c y c l e of c h a n t s date from around 900: Chartres, Bibliotheque M u n i c i p a l e 47 (from Brittany), Laon, (from B i b l i o t h e q u e M u n i c i p a l e 239 ( f r o m L a o n ) , a n d St G a l l , S t i f t s b i b l i o t h e k 359 use d i f f e r e n t t y p e s o f The dating of neumes. examples to the ninth century usually depends upon

S t G a l l ) . M i r r o r i n g t h e d i v e r s i t y of the e a r l i e r e x a m p l e s , these t h r e e m a n u s c r i p t s also early

p a l a e o g r a p h i c a l e v i d e n c e , a n d it is not s u r p r i s i n g that d i f f e r e n t s c h o l a r s h a v e g i v e n different estimates. V a r i o u s lists are a v a i l a b l e , n o n e c o n t a i n i n g t h e s a m e s e r i e s of 1', A G 3 4 6 , o r the

r

s o u r c e s (see, f o r e x a m p l e , t h e t w e n t y - o n e i n H i l e y ' N o t a t i o n , I I I ,

e l e v e n i n C o r b i n 1977, p r o s u l a Psalle final rnodulamina

30 f f . ) . F u r t h e r p a l a e o g r a p h i c a l s t u d y s e e m s e s s e n t i a l . in M u n i c h , Bayerische Staatsbibliothek elm 9543.

The The

e a r l i e s t d a t a b l e s p e c i m e n a t least a c c o r d i n g to o n e o p i n i o n i s a c o p y of t h e a l l e l u i a b o o k i n q u e s t i o n is a c o p y of S t A m b r o s e ' s w r i t i n g s , w h i c h e n d s h a l f - w a y d o w n the page of t h e m a n u s c r i p t . A t the foot a p p e a r s a s c r i b a l e x p l i c i t , w h i c h t e l l s that T h e b l a n k space i n b e t w e e n t h e m a i n t e x t a n d the rnodulamina. ( F o r r e p r o d u c t i o n s see M G G 9, 1981.) B i s c h o f f (1974-80, 1625, i . 203-4) t h e b o o k w a s c o p i e d b y o n e E n g y l d e o , a c l e r i c at t h e m o n a s t e r y of S t E m m e r a m i n R e g e n s b u r g f r o m 8 1 7 to 8 3 4 . e x p l i c i t w a s u s e d to c o p y Psalle Smits van Waesberghe

1957/1958, B i s c h o f f

b e l i e v e d t h e s a m e h a n d to h a v e w r i t t e n b o t h m a i n t e x t , p r o s u l a t e x t , a n d n e u m e s , t h o u g h n o t a l l s c h o l a r s h a v e a c c e p t e d t h i s ( C o r b i n 1977 o m i t s it f r o m h e r l i s t of 1990, e l e v e n ; S t a b l e i n 1975 is n o t a b l y s i l e n t ; b u t see t h e r e c e n t d i s c u s s i o n i n M o l l e r

' P r o s u l a ' ) . T h e date of t h i s o n e e x a m p l e is not so i m p o r t a n t , b u t t h e d i f f i c u l t i e s it p r e s e n t s are s y m p t o m a t i c . T h e g e n e r a l p i c t u r e r e m a i n s t h e s a m e w i t h o r w i t h o u t i t : s p o r a d i c a c t i v i t y t h r o u g h the n i n t h c e n t u r y , p r e c e d i n g the n o t a t i o n of c o m p l e t e books s o m e w h e r e t o w a r d s t h e e n d of t h e c e n t u r y . T h e t y p e s of n e u m e s r e p r e s e n t e d a m o n g the e a r l y e x a m p l e s are t h o s e k n o w n as F r e n c h , G e r m a n , a n d P a l a e o f r a n k i s h . (It is also p o s s i b l e t h a t S p a n i s h e x a m p l e s m a y be d a t e d to t h e n i n t h c e n t u r y : see H u g l o 1985, ' N o t a t i o n W i s i g o t h i q u e ' . ) E x t e n d i n g t h e t i m e - l i m i t to t h e m i d d l e o f t h e t e n t h c e n t u r y , w e c a n a d d B r e t o n n e u m e s Chartres 47), L a o n ( i n L a o n 239, a n d the s l i g h t l y o l d e r flyleaves of L a o n 1 0 7 ) , A q u i t a n i a n ( i n P a r i s , B i b l i o t h e q u e N a t i o n a l e , lat. 1154 a n d 1240, (in and

w h i c h have both

b e e n d a t e d to t h e e a r l y t e n t h c e n t u r y . It is also n o t e w o r t h y t h a t L a o n a n d S t G a l l 359 are n o t o n l y a m o n g t h e earliest m a n u s c r i p t s w i t h a c o m p r e h e n s i v e r e p e r t o r y , b u t also use t h e m o s t c o m p l e x a n d s o p h i s t i c a t e d s y s t e m s k n o w n . It s e e m s c o m m o n sense to s u g g e s t t h a t t h e y w e r e p r e c e d e d b y less s o p h i s t i c a t e d c o d i f i c a t i o n s o f t h e r e p e r t o r y . Y e t t h e e f f o r t d o e s n o t s e e m to h a v e b e e n c e n t r a l i z e d , o t h e r w i s e t h e t y p e s of n e u m e s w o u l d not be so d i f f e r e n t . D i f f e r e n t c e n t r e s m u s t h a v e h a d s u f f i c i e n t i n d e p e n d e n c e to develop their o w n styles. M u c h has b e e n m a d e of s u p p o s e d d i f f e r e n c e of p r i n c i p l e u n d e r l y i n g t h e d i f f e r e n t t y p e s of s i g n s . F o r e x a m p l e , a c c e n t - n e u m e s of t h e p e n , as f o r e x a m p l e t h e h a v e b e e n h e l d to c o n s t i t u t e a d i f f e r e n t Frenchspecies f r o m p o i n t - n e u m e s . A c c e n t - n e u m e s indicate several notes w i t h a single stroke F r e n c h - G e r m a n torculus or porrectus. G e r m a n a n d r e l a t e d t y p e s are s u p p o s e d to b e l o n g to t h i s f a m i l y . P o i n t - n e u m e s t e n d to i n d i c a t e e a c h s e p a r a t e note b y a s e p a r a t e m a r k ; A q u i t a n i a n n o t a t i o n is t h e o b v i o u s e x a m p l e of t h i s t y p e , a n d B r e t o n a n d L a o n n o t a t i o n h a v e b e e n g r o u p e d w i t h i t . Y e t the d i s t i n c t i o n is b y n o m e a n s w a t e r t i g h t . A g l a n c e at T a b l e I V . 2 . 2 , w i t h s i g n s of t h e s o - c a l l e d p o i n t - n e u m e n o t a t i o n s , s h o w s p l e n t y of s i g n s of t h e a c c e n t - t y p e , f o r e x a m p l e for t h e t o r c u l u s a n d p o r r e c t u s a g a i n . P a l a e o f r a n k i s h n o t a t i o n , i n w h i c h a s i n g l e s t r o k e c a n r e p r e s e n t t w o n o t e s , has b e e n felt to be q u a l i t a t i v e l y d i f f e r e n t t o s u c h a n e x t e n t that L e v y , f o r e x a m p l e ( 1 9 8 7 , ' O r i g i n ' ) , has seen it as t h e n o t a t i o n f o r a first w r i t t e n a r c h e t y p e of c h a n t i n the C a r o l i n g i a n p e r i o d , later s u p e r s e d e d b y o n e i n notation. T h e evidence for this distant period nevertheless another remains tantalizingly

s c a n t y , a n d a t t e m p t s to c o n s t r u c t h i e r e r c h i e s a n d ' f a m i l y t r e e s ' o f n o t a t i o n s s e e m l i k e l y to r e m a i n h y p o t h e t i c a l . ( i i i ) Early References to Notation

W e h a v e m a n y a c c o u n t s of t h e p a i n s t a k e n b y t h e F r a n k i s h r u l e r s of t h e e i g h t h a n d n i n t h c e n t u r i e s to m a k e R o m a n l i t u r g y a n d its c h a n t n o r m a t i v e i n t h e i r r a p i d l y b r o a d e n i n g e m p i r e . T o t h i s e n d it w o u l d o b v i o u s l y h a v e b e e n u s e f u l if t h e F r a n k s c o u l d h a v e o b t a i n e d f r o m R o m e w r i t t e n c o p i e s of t h e m u s i c w h i c h h a d to b e s u n g i n t h e i r c h u r c h e s . B u t w e r e t h e y a b l e to a c q u i r e s u c h c o p i e s ? It has b e e n s u g g e s t e d t h a t t h e y w e r e a v a i l a b l e as e a r l y as 7 4 7 , f o r i n t h e r e c o r d s of t h e S y n o d of C l o v e s h o e including ( s o m e w h e r e i n B r i t a i n ) r e f e r e n c e is m a d e to v a r i o u s a s p e c t s of w o r s h i p ,

c h a n t , w h i c h are to b e p e r f o r m e d a c c o r d i n g to a w r i t t e n R o m a n e x e m p l a r (see a b o v e , I I I . 4 ) . F r o m t h e c o n t e x t it is n o t , h o w e v e r , c e r t a i n t h a t t h e r e f e r e n c e is t o n o t a t e d books. There Admonitio is a s i m i l a r d i f f i c u l t y generalis i n i n t e r p r e t i n g the instruction in Charlemagne's nota i . 6 0 ) . T h e w o r d is the secretary, Institutiones a n d these d o i , Pars 2, first of 7 8 9 t h a t b o y s s h o u l d b e t a u g h t , a m o n g o t h e r t h i n g s , regum franco7*um
r

' s i g n s ' , b u t o f w h a t s o r t ? ( M G H Capitularia f o u n d q u a l i f i e d b y a g l o s s (121)

w h i c h c o n n e c t s it w i t h t h e notarius,

r a t h e r t h a n t h e w r i t e r of m u s i c , w h i c h i m p l i e s s i m p l y t h a t t h e b o y s s h o u l d b e t a u g h t h o w t o w r i t e . N o r d o w e find c l e a r r e f e r e n c e s t o m u s i c a l n o t a t i o n i n t h e cdnonicorum 414). F r o m t h e n i n t h c e n t u r y c o m e o u r first F r a n k i s h t r e a t i s e s o n m u s i c , a n d f o r t h e century, middle when of the Hucbald century, of S a i n t - A m a n d w r o t e h i s De of Reome's treatise harmonica disciplina t i m e t h e r e are d i s t i n c t r e f e r e n c e s to m u s i c a l n o t a t i o n . I n d e e d , b y t h e e n d of t h e institutione, clearly d i f f e r e n t t y p e s of n e u m e s w e r e c l e a r l y i n use ( G S i . 117, B a b b , 3 6 - 7 ) . B a c k i n t h e Aurelian Musica e n v i s a g e s t h e p r e s e n c e of w r i t t e n m u s i c a l s i g n s : ' P l a g i s p r o t i m e l o d i a . . . h a b e t n o t a r u m f o r m a s . . .' ( C S M 2 1 , x i x . 34, t r a n s . P o n t e 1968, figura n o t a r u m . . .' ( x i x . 4 2 , P o n t e 1968, 49). 48) a n d ' h a e c c o n s i s t i t r e s u l t i n g f r o m t h e C o u n c i l s of A a c h e n of 8 1 6 a n d 8 1 7 , aevi Karolini, i n c l u d e s e c t i o n s o n t h e d u t i e s of t h e c a n t o r ( M G H Concilia

It h a s b e e n s u g g e s t e d t h a t s o m e of A u r e l i a n ' s r e f e r e n c e s to a c u t e a n d c i r c u m f l e x a c c e n t s also r e f e r to w r i t t e n s i g n s , b u t t h i s is n o t e x p l i c i t l y s t a t e d : t h e passages r e a d m o r e e a s i l y if w e a s s u m e that t h e v o c a l i n f l e x i o n , b u t n o t a w r i t t e n r e p r e s e n t a t i o n of i t , is m e a n t ( x i x . 1 0 - 1 1 , P o n t e 1968, the first 47). T h e e v i d e n c e of d o c u m e n t a r y r e f e r e n c e s , t h e r e f o r e , s e e m s to i n d i c a t e b e g i n n i n g s i n h a l f of t h e n i n t h c e n t u r y , w h i c h is t h e s a m e p e r i o d as s u g g e s t e d b y t h e surviving neumes themselves. ( i v ) Parallel Systems: Oratorical Accents, Punctuation, Ekphonetic Notation

T h r e e p a r a l l e l s y s t e m s of s i g n s w h i c h i n d i c a t e f e a t u r e s of v o c a l d e l i v e r y h a v e b e e n c o m p a r e d w i t h n e u m a t i c n o t a t i o n a n d p u t f o r w a r d as its p r e d e c e s s o r . T h e s e are t h e

p r o s o d i c accents of classical G r e e k literature, the p u n c t u a t i o n signs used i n c o p y i n g texts of the early M i d d l e A g e s , a n d the e k p h o n e t i c signs used to indicate the d e l i v e r y of l i t u r g i c a l l e s s o n s .

(a)

Prosodic

Accents

T h o m p s o n 1912, 6 1 - 4 ; L a u m 1928; S c h w y z e r 1939. ' D e a c c e n t i b u s t o n i o r i t u r nota quae d i c i t u r n e u m a ' ( T t is f r o m the p r o s o d i c accents t h a t t h e r e c o m e s a s i g n c a l l e d a n e u m e ' ) states t h e a n o n y m o u s a u t h o r o f t h e t r e a t i s e Quid est cantus? of i n the eleventh-century the origins of W e s t e r n 1 5 4 ) ; it gained gregoriennes Vatican manuscript chant notation through P a l . lat. 235. T h e by the explanation i n T h e main accent-theory Coussemaker notation was p u t f o r w a r d

(1852,

wide currency have

P o t h i e r ' s Les Melodies

(1880), a n d t h e n i n S u n o l ' s h a n d b o o k of chant accepted it, however.

(1935). N o t all m o d e r n authors

p r o b l e m h a s b e e n t h a t i t is d i f f i c u l t t o d e t e c t a n y c o n t i n u o u s u s e of p r o s o d i c a c c e n t s i n W e s t e r n l i t e r a r y m a n u s c r i p t s u p t o a n d i n c l u d i n g t h e t i m e w h e n m u s i c w a s first notated i n the n i n t h century. Prosodic accent-signs were used b y the G r e e k s f r o m early times, but more especially f r o m the t h i r d century B C , w h e n Greek gradually became an international l a n g u a g e of l e a r n i n g t h r o u g h o u t t h e N e a r E a s t , a n d n o n - n a t i v e s n e e d e d g u i d e s o n t h e correct p r o n u n c i a t i o n of w r i t t e n texts. A r i s t o p h a n e s of B y z a n t i u m a n d h i s p u p i l of interest i n g r a m m a t i c a l studies, i n c l u d i n g accents, a n d they are Aristarchos developed the system i n A l e x a n d r i a . I n the second century A D H e r o d i a n led a resurgence c o m m o n i n s e c o n d - c e n t u r y p a p y r i , t h o u g h n o t a l w a y s u n i f o r m i n t y p e . A c c e n t s of t h e type still used today are especially p r o m i n e n t i n m i n u s c u l e hands of the eighth century onward. The a c u t e a c c e n t (oxeia) s i g n i f i e d that a s y l l a b l e s h o u l d b e p r o n o u n c e d w i t h a s i g n i f i e d a l o w e r p i t c h i n g o f t h e s y l l a b l e ; it is h i g h e r p i t c h . T h e g r a v e a c c e n t (bareia)

m u c h less c o m m o n , b e i n g g e n e r a l l y r e s e r v e d f o r s y l l a b l e s w h i c h w o u l d n o r m a l l y b e a c u t e , b u t f o r s o m e r e a s o n ( f o r e x a m p l e , n o t e n d i n g a c l a u s e ) s h o u l d b e l o w e r , o r at 'normal' pitch. T h e circumflex accent (perispomene) signified a higher pitched syllable falling lower. T h e signs were d i v i d e d into g r o u p s : the tonoi (pitch-signs), c h r o n o i (duration), pneumata (breathing), a n d pathe (mutations). Starting a word with a 'rough 'soft b r e a t h i n g ' , that is a n H - s o u n d , w a s s i g n i f i e d b y t h e daseia; b r e a t h i n g ' , b y t h e psile. The hyphen apostrophos L o n g a n d s h o r t w e r e t h e makra linked words, d e n o t i n g e l i s i o n . T h e diastole absence thereof, separated

a n d bracheia,

respectively. them. T h e IV.4.1,

i n d i c a t e d a s h o r t b r e a k . T h e p r o s o d i c a c c e n t s are s h o w n i n T a b l e names.

together with their L a t i n

S u c h p r o s o d i c s i g n s a r e v e r y rare i n L a t i n s o u r c e s . A l m o s t t h e o n l y o n e f o u n d is a n a c u t e o v e r a n e x c l a m a t o r y m o n o s y l l a b l e s u c h as o. O n t h e o t h e r h a n d , m a n y grammarians ( i n t h i s as i n m a n y o t h e r w a y s h e a v i l y i n d e b t e d t o G r e e k Latin models)

i n c l u d e brief accounts of p r o s o d i c signs. T h e y were certainly k n o w n i n C a r o l i n g i a n

366 T a b l e I V . 4 . 1 . Prosodic Greek tonoi prosodeia oxeia " bareia " perispomene (oxybareia) chronoi " " pneumata " daseia psile makra bracheia

IV. accents

Notation

Accent

Latin toni accentus acutus " gravis " circumflexus (later /v) tempora " " spirit us asper (later L c ) lenis (later j
3

h H

longus brevis

pathe apostrophos hyphen diastole (hypodiastole)

\J

v
\ j

variationes apostrophus conjunctio separatio

t i m e s , f o r t h e r e e x i s t s a n e i g h t h - c e n t u r y treatise De

accentibus

falsely a t t r i b u t e d to spiritus.

P r i s c i a n ( K e i l , I i i . 5 1 7 - 2 8 ) ; a n d a m o n g w r i t i n g s a t t r i b u t e d to A l c u i n is a g r a m m a r i n d i a l o g u e f o r m , w h i c h , d r a w i n g o n P r i s c i a n , m e n t i o n s t h e t h r e e toni a n d t w o T h e q u e s t i o n a r i s e s as to w h e t h e r t h e y r e f l e c t e d o r i n f l u e n c e d the a c t u a l p r o n u n c i a t i o n p r a c t i s e d b y L a t i n s p e a k e r s at v a r i o u s p e r i o d s . A t least t h e y m i g h t h a v e c o n t r i b u t e d to a n e m e r g i n g p r a c t i c e of n o t a t i n g m u s i c . (b) Punctuation

E a r l y m e d i e v a l p u n c t u a t i o n s y s t e m s h a v e also b e e n c i t e d as p o s s i b l e c a t a l y s t s f o r t h e n e w m u s i c a l n o t a t i o n . E i t h e r the s i g n s c o u l d h a v e b e e n t a k e n o v e r l i t e r a l l y , w i t h m o d i f i c a t i o n s of s h a p e o r s i g n i f i c a n c e , o r the g e n e r a l p r i n c i p l e of m a r k i n g s y n t a c t i c u n i t s w i t h a s i g n m i g h t also h a v e b e e n of i m p o r t a n c e . C h a n t s i n g e r s m a d e w i d e use of w e l l - k n o w n m e l o d i e s w h i c h c o u l d be a d a p t e d to m a n y d i f f e r e n t t e x t s . P u n c t u a t i o n m i g h t t h e r e f o r e g u i d e t h e a p p l i c a t i o n of s t a n d a r d m e l o d i c p h r a s e s t o u n i t s of t e x t . (See B i s c h o f f 1986, 224-5.) G r a m m a r i a n s o f a n t i q u i t y u p to I s i d o r e of S e v i l l e u s e d a p o i n t , p l a c e d l o w , i n t h e m i d d l e , o r h i g h , t o i n d i c a t e p a u s e s of d i f f e r e n t l e n g t h : c o m m a (short pause) c o l o n ( m e d i u m pause) p e r i o d u s ( e n d of a s e n t e n c e )

In C a r o l i n g i a n times two systems were prevalent: usual Carolingian short pause l o n g pause
y

later Carolingian (Tsidorian') y ! 1 9 7 ) , s o m e of

A v a r i e t y of s i g n s f o r t h e q u e s t i o n m a r k w e r e k n o w n (see B i s c h o f f 1 9 8 6 , w h i c h bear a distinct resemblance

,
N

to o n e of t h e s e v e r a l q u i l i s m a s i g n s :
y
r

^>

n> of

T r e i t l e r ( 1 9 8 2 , ' E a r l y ' ; 1984) a n d must therefore

has t r i e d h a r d t o see n o t a t i o n f r o m t h i s a n g l e . H e h a s

s t a r t e d f r o m t h e fact t h a t t h e n o t a t i o n i n e a r l y c h a n t - b o o k s d o e s n o t r e c o r d p i t c h e s , h a v e a d i f f e r e n t f u n c t i o n , o n e of g u i d i n g t h e a r t i c u l a t i o n a n d not among of d e l i v e r y of t h e t e x t . T h e s i g n s u s e d to b u i l d u p a m u s i c n o t a t i o n s h o u l d t h e r e f o r e be sought a m o n g p r o s o d i c accents, w h i c h were c o n c e r n e d w i t h p i t c h , b u t

p u n c t u a t i o n s i g n s , w h i c h c o n c e r n t h e a r t i c u l a t i o n of t h e t e x t s i n t o i t s s y n t a c t i c u n i t s . A n d a m o n g o t h e r t h i n g s he h a s d r a w n a t t e n t i o n to t h e s i m i l a r i t y o f t h e f o r m s the next century. B o t h indicate a r i s i n g vocal gesture. (c) Ekphonetic Notation q u e s t i o n m a r k f o u n d i n late e i g h t h - c e n t u r y m a n u s c r i p t s a n d f o r m s o f t h e q u i l i s m a i n

A s p e c i a l t y p e of p u n c t u a t i o n w a s u s e d to g u i d e the i n t o n a t i o n of l i t u r g i c a l t e x t s , lessons i n particular. T h e C h r i s t i a n w o r l d k n e w m a n y different systems. T h e S y r i a n c h u r c h h a d a s y s t e m e m p l o y i n g d o t s e v e n b e f o r e the s c h i s m of t h e s i x t h c e n t u r y . The B y z a n t i n e s y s t e m c a n b e t r a c e d b a c k at least to t h e n i n t h c e n t u r y , a n d it t h e n g a v e r i s e to t h e S l a v o n i c , G e o r g i a n , a n d A r m e n i a n t r a d i t i o n s . H e b r e w B i b l e s a l s o use a s y s t e m t r a d i t i o n a l l y s u p p o s e d to h a v e b e e n i n v e n t e d i n the n i n t h c e n t u r y . T h a t t h i s is s o m e t h i n g d i f f e r e n t i n d e g r e e f r o m s i m p l e p u n c t u a t i o n m a y b e s e e n i n Byzantine examples (Wellesz 1961, 249 ff., p i s . 1 - 2 ; Thibaut 1913, 39, 41); see T a b l e I V . 4 . 2 . A l t h o u g h t h e e x a c t m e a n i n g of t h e i n d i v i d u a l s i g n s is n o t a l w a y s c l e a r , t h e w a y t h e y f u n c t i o n is n o t i n d o u b t : i n g e n e r a l t h e y g i v e a n i n d i c a t i o n o f t h e w a y e a c h p h r a s e s h o u l d be d e l i v e r e d , u s u a l l y b y p l a c i n g o n e s i g n at t h e b e g i n n i n g o f t h e p h r a s e a n d a n o t h e r at the e n d . T h e y w e r e u s u a l l y p o s i t i o n e d b e n e a t h t h e a p p r o p r i a t e s y l l a b l e s , a n d m i g h t be w r i t t e n i n r e d i n k , t h u s b e i n g d i s t i n c t i n b o t h w a y s f r o m p r o s o d i c a c c e n t s . T h e s i g n s d o n o t m e r e l y m a r k off t h e t e x t i n s y n t a c t i c u n i t s , t h e y c a r r y a r a n g e of p i t c h s i g n i f i c a t i o n w e l l b e y o n d t h a t of t h e p u n c t u a t i o n s i g n s . d e g r e e to w h i c h t h e y w e r e d e v e l o p e d f r o m p r o s o d i c a c c e n t s is d e b a t a b l e , time the ekphonetic system was developed, that is, t h e y no longer in The a n d it is practice not,

p r o b a b l e t h a t t h e p r o s o d i c a c c e n t s w e r e t h e m s e l v e s k n o w n o n l y a c a d e m i c a l l y at t h e c o r r e s p o n d e d t o the n o r m a l m a n n e r of d e c l a i m i n g G r e e k t e x t s . T h i s w o u l d notation.

h o w e v e r , h a v e p r e v e n t e d t h e i r u t i l i z a t i o n i n a n e w l y d e v e l o p i n g s y s t e m of l e c t i o n

T a b l e I V . 4 . 2 . Byzantine O x e i a (diplai) Kremaste Bareia (diplai) Apostrophos A p e s o exo Kentemata Synemba Hypokrisis Teleia Syrmatike Paraklitike Kathiste
y

ekphonetic

signs (after Wellesz, 1961, 252) the voice rises to a higher p i t c h and stays there u n t i l the second O x e i a rise of the voice w i t h a slight emphasis fall of the voice w i t h a certain emphasis lower pitch w i t h o u t emphasis

/
J \
>
>

//

lower . . . higher rise joining two words s m o o t h l y

>

separation, shorter or longer pause u n d u l a t i n g movement in a beseeching manner normal starting tone

There of

seems

little d o u b t

that

Byzantine ekphonetic that can be recovered,

and Byzantine however, the

neumatic so-called

n o t a t i o n are r e l a t e d t o e a c h o t h e r , f o r s o m e o f t h e s i g n s a r e i d e n t i c a l . T h e o l d e s t s t a g e s Byzantine neumatic notation P a l a e o b y z a n t i n e t y p e s f r o m t h e t e n t h c e n t u r y o n w a r d , are to b e d i s t i n g u i s h e d f r o m e k p h o n e t i c n o t a t i o n i n that each sign (or g r o u p ) refers to one s y l l a b l e , w h e r e a s the b a s i s o f e k p h o n e t i c n o t a t i o n is t h e p h r a s e . Y e t t h i s d o e s n o t m e a n that i n n e u m a t i c n o t a t i o n every s y l l a b l e has its m e l o d i c s i g n : that stage w a s n o t r e a c h e d u n t i l t h e e l e v e n t h c e n t u r y , a n d i n o l d e r s o u r c e s m a n y s y l l a b l e s a r e left w i t h o u t a s i g n . A n o t h e r d i s t i n c t i o n is t h a t n e u m a t i c n o t a t i o n w a s e n t e r e d o v e r t h e t e x t . It d o e s n o t s e e m p o s s i b l e , t h e r e f o r e , to speak of a s t e a d y d e v e l o p m e n t f r o m a c c e n t s to e k p h o n e t i c n o t a t i o n t o n e u m a t i c n o t a t i o n , d e s p i t e t h e s i g n s h e l d i n c o m m o n . I t s e e m s safe t o s p e a k o f t h r e e d i f f e r e n t s y s t e m s w h i c h s h a r e d s o m e i d e a s a n d g r a p h i c s h a p e s (see T a b l e I V . 4 . 3 ) . T h e p r i n c i p a l r e a s o n w h y t h e y are n o t m o r e c l o s e l y r e l a t e d is that t h e y s e r v e d d i f f e r e n t p u r p o s e s . E k p h o n e t i c a i d s w e r e n e e d e d t o s p e c i f y a r a n g e of i n t o n a t i o n f o r m u l a s n o t d i s c e r n i b l e s i m p l y f r o m t h e n o r m a l p u n c t u a t i o n o f t h e t e x t . N e u m a t i c n o t a t i o n w a s n e e d e d t o suggest m u c h m o r e v a r i e d m e l o d i c o u t l i n e s , w h e r e each syllable m i g h t be d e l i v e r e d w i t h an i n d i v i d u a l m e l o d i c gesture. T h e r o l e o f e k p h o n e t i c n o t a t i o n s i n t h e W e s t is s t i l l s o m e w h a t o b s c u r e . E k p h o n e t i c s i g n s o f m a n y d i f f e r e n t t y p e s , that i s , s i g n s w h i c h s e e m to affect t h e d e l i v e r y o f complete phrases, r a t h e r t h a n separate s y l l a b l e s , m a y i n d e e d b e f o u n d i n W e s t e r n n o r to a d h e r e to a n y u n i f i e d b o o k s , b u t they seem to be n o earlier than n e u m e s ,

t r a d i t i o n o r t r a d i t i o n s . W h a t is m o r e , n o o n e m a n u s c r i p t s e e m s t o use m o r e t h a n e i g h t o r n i n e s i g n s , so t h a t i n s c o p e it is s o m e t h i n g l i k e a n e x t e n d e d p u n c t u a t i o n s y s t e m . I n d e e d , f o r t h e e x p e r i e n c e d singer of a clearly p u n c t u a t e d m a n u s c r i p t , s u c h extra

T a b l e I V . 4 . 3 . Accents, Prosodic accents Oxeia

ekphonetic

signs, and

neumes

(Byzantine)

E k p h o n e t i c signs Oxeia Kremaste Kentemata J \

>

Palaeobyzantine neumes Oxeia Petaste Kentemata* Bareia Apostrophos J \ / J

Bareia

\
A

Bareia Apostrophos

Oxybareia

n A p e s o exo , Apeso exo*

Makra Bracheia

o Kathiste Syrmatike Paraklitike V LC Syrma* Paraklitike*

1-

Daseia Psile Apostrophos

H J D Hypokrisis Teleia Synemba

> >

Katabasma* Stavros* Klasma*

i )

Hyphen Diastole
:

not recognized by all experts superfluous. There (For seems little evidence, examples see Sunol therefore, 1935, 181; to suggest that 1965, 90-4.)

signs

were

W e s t e r n n e u m a t i c n o t a t i o n m i g h t h a v e u s e d e k p h o n e t i c s i g n s as a s p r i n g b o a r d f o r t h e development of its s y s t e m . Jammers T a f e l n , 1 0 5 ; E k b e r g , ' E k p h o n e t i c N o t a t i o n ' , NG (d) Byzantine notation a d o p t i o n or 1 0 2 ; R a n k i n i n F e n l o n 1982,

From

t h e p r e v i o u s s e c t i o n it w i l l h a v e b e c o m e c l e a r t h a t a W e s t e r n

i m i t a t i o n of B y z a n t i n e c h a n t n o t a t i o n is v e r y u n l i k e l y t o h a v e o c c u r r e d . T h e i d e a h a s n e v e r t h e l e s s h a d its s u p p o r t e r s . T h e G r e e k n a m e s of m a n y n e u m e s , t h e s i m i l a r i t y of s o m e s h a p e s , e v e n if t h e y s i g n i f i e d s o m e t h i n g d i f f e r e n t , h a v e e x e r c i s e d a c o n s i d e r a b l e f a s c i n a t i o n . T h i b a u t , w h o s e s t u d i e s of B y z a n t i n e e k p h o n e t i c n o t a t i o n h a v e j u s t b e e n referred to, believed that Western chant notation derived from the Byzantine the (see ekphonetic signs. M o r e recently, F l o r o s ( 1 9 7 0 ) has a t t e m p t e d to r e c o n s t r u c t

e a r l i e s t B y z a n t i n e c h a n t n o t a t i o n a n d t h e n s h o w that i n t h i s e a r l y f o r m i t w a s a d o p t e d i n t h e W e s t . T h e e v i d e n c e o n w h i c h the t h e o r y rests a p p e a r s s h a k y , h o w e v e r H a a s 1975).

(v)

The

<

Cheironomic final

>

Theory chant they Ages 23;

Before the

b o d y of e v i d e n c e w h i c h m i g h t i l l u m i n a t e t h e e a r l y h i s t o r y of

n o t a t i o n is c o n s i d e r e d , m e n t i o n s h o u l d be m a d e of a n o t h e r t h e o r y : t h a t e a r l y

neumes

r e f l e c t t h e m a n u a l g e s t u r e s of the c a n t o r as he d i r e c t s h i s c h o i r i n p e r f o r m a n c e ; 96), w h i l e d i s c u s s i o n of t h e p r a c t i c a l i t i e s of c h a n t - c o n d u c t i n g i n t h e M i d d l e

are c h e i r o n o m i c . T h e i d e a a p p e a r s to h a v e o r i g i n a t e d w i t h M o c q u e r e a u ( P a l M u s 11, b e g a n w i t h K i e n l e ( 1 8 8 5 ; see also G i n d e l e 1 9 5 1 ) . N e a r l y a l l w r i t e r s o n c h a n t n o t a t i o n h a v e at least p a i d l i p - s e r v i c e to the i d e a ( W a g n e r I I , 1 7 ; J a m m e r s 1 9 6 5 , T a f e l n , Stablein 1975, 28), and it f o r m s part of, for example, (1963, the theory of neumatic most

s e p a r a t i o n e l a b o r a t e d b y C a r d i n e ( d i s c u s s e d i n the n e x t s e c t i o n ) . A v a r i e t y of e v i d e n c e of c h e i r o n o m i c Cheironomic systems systems was r e v i e w e d b y H u g l o as commonly 'Chironomie'), and specify the r e c e n t l y H u c k e ( 1 9 7 9 ) has s u b j e c t e d t h e w h o l e m a t t e r to s t r i n g e n t c r i t i c i s m . understood actually melodic cantors chant i n t e r v a l s t o be s u n g , a n d , as H u c k e p o i n t s o u t , t h e r e is n o e v i d e n c e t h a t W e s t e r n c h a n t n o t a t i o n w a s l i n k e d to a n y m e t h o d of t h i s s o r t . E v e n l i t e r a r y r e f e r e n c e s to conducting with hand movements are extremely sparse. The theory that n o t a t i o n o r at least t h e S t G a l l o r L a o n n e u m e s u s u a l l y i n v o k e d i n t h i s

context

d e p i c t s c a n t o r i a l h a n d g e s t u r e s has t h e r e f o r e n o c o n c r e t e s u p p o r t e i t h e r f r o m w h a t is k n o w n of c h e i r o n o m y i n o t h e r c o n t e x t s (the m u s i c of o t h e r c u l t u r e s , m o d e r n W e s t e r n s y s t e m s s u c h as t h e K o d a l y m e t h o d ) o r f r o m c o n t e m p o r a r y d o c u m e n t a t i o n . T h i s d o e s not mean to say that it is e r r o n e o u s , o n l y that it c a n n o t be proven. Practical e x p e r i m e n t s u g g e s t s t h a t it is p o s s i b l e to r e p r o d u c e , s a y , S t G a l l n e u m e s as h a n d g e s t u r e s i n c o n d u c t i n g a c h o i r ; so the reverse is t h e o r e t i c a l l y p o s s i b l e : t h a t c o n d u c t i n g g e s t u r e s w e r e r e p r o d u c e d as w r i t t e n s i g n s . A s a h i s t o r i c a l e x p l a n a t i o n it l a c k s a l l f o u n d a t i o n , h o w e v e r , a n d s c h o l a r l y c a u t i o n d e m a n d s t h a t it b e t r e a t e d , at b e s t , as a picturesque analogy.

(vi)

The

Early

Transmission

of

Chant t h e earliest s p e c i m e n s of c h a n t n o t a t i o n d a t e b a c k t o

S o f a r I h a v e s u g g e s t e d t h a t (a)

t h e e a r l y n i n t h c e n t u r y ; (b) the earliest u n e q u i v o c a l r e f e r e n c e s to n o t a t i o n c o m e f r o m A u r e l i a n of R e o m e , w r i t i n g a r o u n d 850 (the c o m p l i c a t e d c o m p o s i t i o n a n d t r a n s m i s s i o n of A u r e l i a n ' s t r e a t i s e m a k e c a u t i o n a d v i s a b l e ) ; (c) s o m e of t h e m a t e r i a l s w h i c h m i g h t h a v e h e l p e d i n the d e v e l o p m e n t of a b a s i c a l l y n e w f a n g l e d n o t a t i o n i n t h e W e s t w e r e a v a i l a b l e i n t h e C a r o l i n g i a n p e r i o d : the a c c e n t s of c l a s s i c a l p r o s o d y a n d p u n c t u a t i o n s i g n s , w i t h a f a i n t p o s s i b i l i t y that B y z a n t i n e e k p h o n e t i c s i g n s o r e v e n t h e b e g i n n i n g s of B y z a n t i n e m u s i c a l n o t a t i o n m i g h t h a v e e x i s t e d to s p u r t h e i m a g i n a t i o n of Franks. Before n o t a t i o n w a s e m p l o y e d to c o d i f y c h a n t m e l o d i e s , a n d p r o v i d e a n a i d to l e a r n i n g a n d p r e s e r v a t i o n , the m u s i c w a s p e r f o r m e d f r o m m e m o r y . T h i s state of a f f a i r s c a n a c t u a l l y be d e d u c e d f r o m the s t y l e of the m u s i c i t s e l f . A l a r g e p a r t of t h e c h a n t r e p e r t o r y c o n s i s t s of m e l o d i e s w h i c h h a v e b e e n a d a p t e d t o fit d i f f e r e n t t e x t s , the

o r w h i c h use s t o c k w a y s of b e g i n n i n g a n d c a d e n c i n g , a n d s h a r e c o m m o n w a y s of d e l i v e r i n g t e x t s o f a p a r t i c u l a r t y p e . It m i g h t h a v e b e e n e x p e c t e d S o that for the p e r f o r m a n c e of t h e tract Jubilate deo (Ex. f r o m this that s i n g e r s w o u l d h a v e h a d s o m e r o o m f o r m a n o e u v r e i n the p e r f o r m a n c e of s u c h c h a n t s . II.5.4), for example, d i f f e r e n t m a n u s c r i p t s r e p r e s e n t i n g t h e d e c i s i o n s of d i f f e r e n t c a n t o r s a b o u t h o w t h i s t e x t s h o u l d b e p e r f o r m e d w o u l d e m p l o y d i f f e r e n t f o r m u l a s , at least o c c a s i o n a l l y , so t h a t t h e r e w o u l d b e a c e r t a i n a m o u n t of i n t e r c h a n g e b e t w e e n G l , G 2 , a n d so o n , as t h e s t a n d a r d p h r a s e s of E x . I I . 5 . 4 are l a b e l l e d . B u t t h i s is n o t s o . A l l s o u r c e s d r a w u p o n t h e s a m e t r a d i t i o n a l p h r a s e s at the s a m e t i m e , f o l l o w t h e s a m e p r o c e d u r e w h e n t h e l e n g t h of t h e t e x t is d i f f e r e n t , a n d at first s i g h t , s e e m m u c h m o r e l i k e c o p i e s of t h e same exemplar than different rememberings and reproductions. A n d y e t d i f f e r e n c e s , s m a l l b u t p e r s i s t e n t , are to be f o u n d . T h e y c o n c e r n l i q u e s c e n t n o t e s , as w e m i g h t e x p e c t , a n d t h e use of s u c h s i g n s as t h e q u i l i s m a a n d o r i s c u s , h o w IO d e a l w i t h n o t e s at t h e s e m i t o n e step ( f o r e x a m p l e : a pes be o r t w o v i r g a e <:<:?), a n d so o n . In other w o r d s , they c o n c e r n surface detail, not basic structure. O n t h e o t h e r h a n d , s o m e o t h e r t y p e s of c h a n t s h o w b i g g e r d i f f e r e n c e s Fickett 1983). For between and s o u r c e s , f o r e x a m p l e , m a n y a n t i p h o n s (see t h o s e t r a n s c r i b e d b y U d o v i c h 1980

T h i s r e i n f o r c e s t h e i m p r e s s i o n t h a t w e h a v e to d o n o t w i t h a r e p e r t o r y t r a n s m i t t e d i n w r i t i n g , b u t o n e r e m e m b e r e d a n d later c o d i f i e d d i f f e r e n t l y i n d i f f e r e n t p l a c e s . s o m e c h a n t s t h e l e a r n i n g p r o c e s s h a d b e e n so t h o r o u g h a n d e x a c t , t h e p r o c e d u r e s f o r r e m e m b e r i n g so d i l i g e n t l y r e h e a r s e d , t h a t h a r d l y a n y d i f f e r e n c e c a n b e s e e n b e t w e e n s o u r c e s . F o r o t h e r c h a n t s t h e r e m e m b e r i n g w a s n o t so u n i f o r m . ( F o r m u c h v a l u a b l e c o m p a r a t i v e m a t e r i a l , w i t h d i s c u s s i o n , see V a n d e r W e r f 1 9 8 3 . )

( v i i ) Some

Conclusions

W h e n t r y i n g to d e c i d e w h e n t h e c h a n t r e p e r t o r y w a s first s y s t e m a t i c a l l y c o d i f i e d w i t h musical notation, one should bear in mind that early manuscripts were not ' p e r f o r m i n g s c o r e s ' i n t h e m o d e r n sense, b u t w o r k s f o r s t u d y a n d r e f e r e n c e . c h u r c h a n d t h e m a s t e r e x e m p l a r i n t h e s o n g - s c h o o l , at least i n s o l o i s t s ' m u s i c . If o u r e a r l i e s t m a n u s c r i p t s are i n d e p e n d e n t of e a c h o t h e r c o n t a i n i n g b e g i n n i n g s of notation a n y e a r l i e r t h a n t h e i r a c t u a l date different their r e a d i n g s , as w e l l as u s i n g a d i f f e r e n t n o t a t i o n t h e n t h e y d o n o t s u g g e s t a d a t e f o r t h e of c o p y i n g . F o r p a r t i c u l a r c h u r c h e s t h e y m i g h t w e l l b e the first s u c h b o o k s e v e r m a d e . W h a t e v e r t h e p r e v i o u s uses of n o t a t i o n , it d o e s n o t s e e m to have b e e n u s e d f o r a w h o l e g r a d u a l b e f o r e t h e late n i n t h c e n t u r y ( a n d n o t u n t i l a c e n t u r y l a t e r f o r o f f i c e c h a n t s ) . W e m i g h t envisage a p e r i o d w h e n the various notation-types were b e c o m i n g established, i n the n i n t h c e n t u r y , a n d w e r e t h e n finally e m p l o y e d f o r a m a j o r c o d i f y i n g p r o j e c t , t h e w h o l e mass repertory. If, as L e v y b e l i e v e s , a s t a n d a r d e x e m p l a r e x i s t e d e a r l i e r , p e r h a p s c o m p i l e d at C h a r l e m a g n e ' s i n s t i g a t i o n , t h e n later c a n t o r s a n d s c r i b e s m u s t h a v e felt f r e e t o c o p y i t There

m u s t a l w a y s h a v e b e e n a g r e a t e r o r lesser d i s c r e p a n c y b e t w e e n t h e m u s i c s u n g i n

(a)

u s i n g their o w n locally developed notations

a n d (b)

incorporating their

own

' i n t e r p r e t a t i o n ' of d e t a i l s s u c h as t h o s e m e n t i o n e d a b o v e . I n o t h e r w o r d s , t h e y w o u l d b e w o r k i n g p a r t l y f r o m m e m o r y , p a r t l y f r o m a n e x e m p l a r . T h i s w a y of m a k i n g c h a n t b o o k s m i g h t w e l l h a v e b e e n o n e of the c o m m o n e s t t h r o u g h o u t t h e M i d d l e A g e s , f o r a n e x a c t l y a n a l o g o u s s i t u a t i o n arose i n the e l e v e n t h a n d t w e l f t h c e n t u r i e s w h e n c h u r c h e s a l l o v e r E u r o p e w a n t e d t o m a k e n e w r e c o r d s of t h e i r r e p e r t o r y i n s t a f f - n o t a t i o n . T h e e s s e n c e o f e a r l y c h a n t n o t a t i o n m u s t l i e , as T r e i t l e r has i n d i c a t e d , i n i t s a b i l i t y t o l i n k t h e a p p r o p r i a t e v o c a l g e s t u r e to the text b e i n g d e l i v e r e d . T h i s is easiest to e n v i s a g e i n t h e case of h i g h l y s t a n d a r d i z e d m e l o d i c u n i t s . T r e i t l e r uses r e s p o n s o r y v e r s e s t o i l l u s t r a t e the t e c h n i q u e ( T r e i t l e r 1984, parallel demonstration. Graduate triplex. In Ex. IV.4.1 172, r e p r o d u c e d f r o m R a n k i n 1 9 8 4 ) . mode 3 introits T h e e x a m p l e s of p s a l m v e r s e s f r o m i n t r o i t s p r o v i d e d b y H u c k e ( 1 9 8 5 ) c a n b e r e a d as a are the o p e n i n g s of s o m e a l r e a d y c i t e d above (11.11: c o m p a r e E x . I I . 11.1). I transcribe the v e r s i o n s i n the

E x . I V . 4 . 1 . O p e n i n g of mode 3 introits (St G a l l notation)

Be -ne - di - ci - te

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2 4 6 ) , Ego dominum autem (GT sicut oliva (GT 607).

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io-cun-di -

ta-tis

W e c o u l d i m a g i n e a s c e n a r i o s o m e t h i n g l i k e the f o l l o w i n g . T h e c a n t o r k n o w s t h a t a m o d e 3 m e l o d y is t r a d i t i o n a l l y s u n g f o r the f o l l o w i n g t e x t s : Repleatur 424), Vocem iocunditatis (GT 229), os meum and first (GT Benedicite phrase, and, The text.

H e w i l l be a i m i n g f o r c as the r e c i t i n g n o t e i n the

u s u a l l y a c h i e v e d d i r e c t l y f r o m G \ o r w i t h an o r n a m e n t a l g e s t u r e a r o u n d G a n d a, if t h e t e x t w a r r a n t s i t , s o m e p r e l i m i n a r y m o v e m e n t a r o u n d D a n d E. neumatic Benedicite Repleatur notation dominum os meum The reminds h i m w h i c h o p e n i n g is best f o r e a c h k n o w a n u m b e r of s t e r e o t y p e d o p e n i n g s a p p r o p r i a t e f o r i n t r o i t s i n t h i s m o d e . particular DG is is the s i m p l e s t , f o r o n l y o n e u p w a r d m o v e m e n t has t h r e e a s c e n d i n g g e s t u r e s , w h i c h m u s t be f o r EFE, ornamental flourish on
l

T h a t i s , he w i l l

is i n d i c a t e d .
y

a n d Gc instantly

respectively.

au[tem]'

i n Ego

eutem

r e c o g n i z a b l e , a n d the m o r e l e i s u r e l y p r o g r e s s of Vocem iucunditatis q u i t e c l e a r , f o r it is b o u n d to s t a r t w i t h Ef \ DC,

is a l s o , i n its w a y , notation

the a r r i v a l at c is u n m i s t a k a b l e , a n d

i n b e t w e e n Zs, G a n d a are a l m o s t c e r t a i n l y the o n l y n o t e s a v a i l a b l e . T h e (The l e n g t h of its stay t h e r e is also c l e a r i n t h i s n o t a t i o n f r o m t h e i n t h i s m o d e p r i n c i p a l l y w i t h c.)

t h e r e f o r e g u i d e s t h e c o n t r o l l e d d e l i v e r y of the text t o w a r d s t h e first s t r u c t u r a l c r u x . apostrophes, matrix associated It does n o t s p e c i f y p i t c h e s : t h e

f r o m w h i c h t h e y w i l l be d r a w n is a l r e a d y k n o w n . It s p e c i f i e s w h a t w o r d s b e l o n g t o t h e o p e n i n g g e s t u r e , a n d h o w t h e s y l l a b l e s are d i s p o s e d w i t h i n i t , i t s f u n c t i o n therefore r e s e m b l i n g t h a t of p u n c t u a t i o n m o r e t h a n t h a t of m o d e r n p i t c h n o t a t i o n . B u t it is v e r y h i g h l y d e v e l o p e d t y p e of p u n c t u a t i o n s y s t e m , o n e w h i c h i n d i c a t e s n o t s i m p l y t h e m a i n syntactic d i v i s i o n s i n t h e t e x t b u t t h e s h a p i n g of m u c h d e t a i l w i t h i n those may d i v i s i o n s . A n d , if s o m e s i g n s h a v e b e e n s u g g e s t e d b y p u n c t u a t i o n s i g n s , o t h e r s m e l o d y ( D u c h e z 1979, Once the 'Representation'). t a k e n to r e c o r d e a c h a n d e v e r y m o v e m e n t of the no of

w e l l h a v e c o m e f r o m o r a t o r i c a l a c c e n t s , o r s i m p l y f r o m a s e n s e o f t h e c o n t o u r of a decision had been

m e l o d y , t h e l a t t e r a s p e c t of c h a n t n o t a t i o n b e c a m e p r e d o m i n a n t . T h e fact t h a t that different centres e m p l o y e d different styles of w r i t i n g , suggests a p e r i o d

s i n g l e p o i n t of d e p a r t u r e l e a d s t o a c o m p l e t e r e p e r t o r y of s i g n s f o r c h a n t n o t a t i o n , a n d v i g o r o u s b u t c o n t r o l l e d , n e w i n i t i a t i v e . I n t h i s c o n t e x t it s e e m s u n n e c e s s a r y t o l o o k outside the C a r o l i n g i a n r e a l m for a pre-existing system. W e m i g h t see t h e e a r l y h i s t o r y of n o t a t i o n i n t h r e e p r i n c i p a l s t a g e s . A d i a s t e m a t i c n o t a t i o n is b e s t a d a p t e d to r e p r e s e n t t h e s t a n d a r d i d i o m s a n d f o r m u l a s of t h e e a r l i e s t ' G r e g o r i a n ' l a y e r of m u s i c . Its use b e c a m e m o s t u r g e n t p r e c i s e l y w h e n t h e o l d m u s i c a l types were increasingly being challenged by newer, n o n - f o r m u l a i c , c o m p o s i t i o n s . F o r these, p i t c h - n o t a t i o n was eventually indispensable. T h e t h i r d stage, the s p e c i f i c a t i o n of r h y t h m , w a s n o t n e e d e d u n t i l t h e m u s i c f o r t w o o r m o r e v o i c e s b o t h m o v i n g i n r e g u l a r r h y t h m h a d to be c o o r d i n a t e d ; t h i s stage c o n c e r n s P a r i s i a n p o l y p h o n y of the t w e l f t h to t h i r t e e n t h c e n t u r y . not plainchant but the

IV.5.

T H E N O T A T I O N

OF

R H Y T H M

(i) R h y t h m i c Elements i n E a r l y Notations (ii) R h y t h m i n S i m p l e A n t i p h o n s (iii) C a r d i n e ' s ' G r e g o r i a n S e m i o l o g y ' (iv) T h e E v i d e n c e of T h e o r i s t s (v) C o n c l u s i o n s The n o t a t i o n of s e v e r a l e a r l y c h a n t m a n u s c r i p t s i n c l u d e s i n d i c a t i o n s of r h y t h m i c between individual notes or groups of notes. Richest Germany in such as 121, from Switzerland and south (such

differentiation

i n d i c a t i o n s are t h e e a r l y s o u r c e s

St G a l l , S t i f t s b i b l i o t h e k 359 a n d 3 3 9 , f r o m S t G a l l , E i n s i e d e l n , S t i f t s b i b l i o t h e k from Einsiedeln, and Bamberg, Staatsbibliothek, lit. 6 f r o m Regensburg)

and L a o n ,

B i b l i o t h e q u e M u n i c i p a l e 2 3 9 , b u t v e r y m a n y o t h e r m a n u s c r i p t s i n d i c a t e at least s o m e

d e g r e e o f r h y t h m i c d i f f e r e n t i a t i o n . T h e r e are s e v e r a l w a y s i n w h i c h t h i s w a s d o n e : the n o r m a l shape

(a)

of a s i g n w a s a l t e r e d i n s u c h a w a y as t o s u g g e s t a r h y t h m i c

a l t e r a t i o n , (b) i n t h e E a s t e r n m a n u s c r i p t s , e x t r a e l e m e n t s w e r e a d d e d t o t h e n o r m a l s i g n s , u s u a l l y t h e s h o r t b a r k n o w n as t h e e p i s e m a , (c) t h e w a y i n w h i c h s e v e r a l n o t e s were c o m p r e h e n d e d i n one sign was altered, separating what m i g h t have been joined a n d j o i n i n g w h a t m i g h t h a v e b e e n s e p a r a t e , (d) s o - c a l l e d ' s i g n i f i c a t i v e l e t t e r s ' placed adjacent to the s i g n . T h e m e d i e v a l t a b l e s of m u s i c a l s i g n s are l a t e r t h a n t h e e a r l y s o u r c e s j u s t m e n t i o n e d , a n d it i s n o t s u r p r i s i n g t h a t t h e y p r o v i d e n o e x p l a n a t i o n of d u r a t i o n a l s i g n i f i c a n c e . O n l y the Italian tables i n M o n t e c a s s i n o , A r c h i v i o d e l l a B a d i a 318 ( C o u s s e m a k e r 1852, p i . X X X V I I ; F e r r e t t i 1 9 2 9 , 193, p i . I I ) a n d F l o r e n c e , B i b l i o t e c a M a g l i a b e c c h i a n a F . 3. 565 ( F e r r e t t i , percussionalis tractulus). 195) i n d i c a t e a d i f f e r e n t i a t i o n : t h u s i n M o n t e c a s s i n o 3 1 8 w e (a d o t o r p u n c t u m ) a n d percussionalis longa (a d a s h find or brevis were

(i) Rhythmic

Elements

in Early

Notations

T h e m e a n i n g o f t h e s i g n i f i c a t i v e l e t t e r s , at least as t h e y w e r e u n d e r s t o o d at S t G a l l , is g i v e n i n a l e t t e r a t t r i b u t e d t o N o t k e r (see P a l M u s 4 , 10 a n d P I . 5 . B - D ; a l s o S u n o l 1935, 1 3 4 ; NG 13, 1 3 2 ; c r i t i c a l e d i t i o n b y F r o g e r 1962). St G a l l t r a d i t i o n a s c r i b e d their i n v e n t i o n to the R o m a n cantor ' R o m a n u s ' , w h o was s u p p o s e d to have b r o u g h t c h a n t - b o o k s f r o m R o m e to S t G a l l i n the e i g h t h c e n t u r y . H e n c e the n a m e ' R o m a n i a n l e t t e r s ' , c o i n e d b y S c h u b i g e r ( 1 8 5 8 ) . B u t w e h a v e n o c o n t e m p o r a r y e x p l a n a t i o n of the other features m e n t i o n e d above. T h e o n l y w a y i n w h i c h w e c a n a p p r o x i m a t e l y u n d e r s t a n d t h e n o t a t i o n is b y c a r e f u l c o m p a r i s o n of t h e s o u r c e s a m o n g themselves. eleventh i n the special S i g n i f i c a t i v e l e t t e r s c a n b e f o u n d i n m a n y m a n u s c r i p t s u p to t h e e a r l y early Winchester manuscripts, Eastern for example. But they are commonest

c e n t u r y f r o m d i f f e r e n t areas o f E u r o p e , i n B r e t o n a n d A q u i t a n i a n s o u r c e s a n d t h e abovementioned and L a o n manuscripts. Smits van Waesberghe's

s t u d y o f t h e m ( 1 9 3 8 - 4 2 ) r e p o r t e d t h a t E i n s i e d e l n 121 c o n t a i n e d t h e s t a g g e r i n g t o t a l of 3 2 , 3 7 8 s i g n i f i c a t i v e l e t t e r s . N o t k e r ' s letter a s c r i b e d a m e a n i n g to a l m o s t e v e r y l e t t e r of t h e a l p h a b e t , b u t s e v e r a l c a n n o t b e t r a c e d i n e x t a n t m a n u s c r i p t s , o r are v e r y r a r e . P r e f e r e n c e s n a t u r a l l y d i f f e r f r o m o n e area to a n o t h e r , a n d w e h a v e n o N o t k e r to e x p l a i n t h e s y s t e m i n , s a y , L a o n 2 3 9 . N o t a l l t h e l e t t e r s r e f e r t o r h y t h m i c p r o p e r t i e s of p e r f o r m a n c e , s o m e c o n c e r n i n g d y n a m i c o r m e l o d i c features. T h e c o m m o n e s t i n the E a s t e r n s o u r c e s are t h e f o l l o w i n g : dynamic: melodic: / = cum fragore k = klenche a = altius: e o r eq sen frendore: w i t h harsh attack with r i n g i n g tone ( G k . ? ) o r clange: higher in pitch at t h e s a m e p i t c h iosum, o r iusiim: lower i n pitch m u c h lower

= equaliter: valde:

/, io, o r iu = infetius, iv = inferius

5. / = levate: .9 = sursum: rhythmic: / = trahete

The

Notation

of Rhythm

375

rise to a h i g h e r p i t c h a s c e n d to a h i g h e r p i t c h quickly drag, hold o r tenete: wait

c = cito o r celeriter: x = expectate:

T h e p r e f e r e n c e s o f L a o n 2 3 9 are f o r t h e f o l l o w i n g : melodic: eg = egualiter: at t h e s a m e p i t c h at a l o w p i t c h lengthen quickly normal moderately, can qualify either a melodic or drag, hold h = humi liter: s = sursum rhythmic: a = augete: n or

= a s c e n d to a h i g h e r p i t c h

c = cito o r celeriter: t = trahete o r tenete:

o r nt = naturaliter: = mediocriter:

I n b o t h t r a d i t i o n s , m o r md f r o m the context.

a r h y t h m i c i n d i c a t i o n , o r e v e n a p p e a r o n its o w n , w h e n i t s m e a n i n g h a s t o be d e d u c e d ( M o r e c o m p l e t e l i s t s o f l e t t e r s m a y be f o u n d i n s t u d i e s of t h e i n d i v i d u a l n o t a t i o n s , a n d i n S u n o l 1935, specifies the 1 3 4 - 8 , 141, 143-4, etc.) note-groups. The others usually (or A m o n g t h e l e t t e r s i n d i c a t i n g m e l o d i c f e a t u r e s , e is p a r t i c u l a r l y i m p o r t a n t , f o r it relationship between two disjunct ( t h o u g h b y n o m e a n s e x c l u s i v e l y ) s e r v e to w a r n of i n t e r v a l s l a r g e r t h a n a t o n e semitone). E x . I V . 5 . 1 . s h o w s a t y p i c a l use of t h e l e t t e r s e, z, m
y

and $ (medieval s

looks like an elongated r ) . E x . I V . 5 . 1 . F r o m offertory Benedictus

m
/

es Domine
*e

(GT 277,
f

notation of E i n s i e d e l n 121)
* r

in

la - bi - is

me

is

pronun-ti - a-

-ui

R h y t h m i c d i f f e r e n t i a t i o n d e p e n d s a l m o s t e n t i r e l y o n c a n d t. T h e y are t h e k e y to u n d e r s t a n d i n g the n o t a t i o n a l signs that have b e e n altered f r o m t h e i r u s u a l f o r m or given an e p i s e m a , for a fairly consistent correspondence ( t h o u g h it is b y n o means c o m p l e t e ) c a n b e s e e n b e t w e e n t h e use of, o n the o n e h a n d , t h e l e t t e r c a n d t h e n o r m a l shapes f o r signs, a n d , o n the other h a n d , the letter / a n d the altered o r s u p p l e m e n t e d s h a p e s . T y p i c a l n o r m a l a n d a l t e r e d s h a p e s i n S t G a l l n o t a t i o n are g i v e n i n E x . I V . 5 . 2 , t o g e t h e r w i t h t w o p a s s a g e s horn Alleluia 359 a n d 3 3 9 a n d i n E i n s i e d e l n 1 2 1 . T h e l e t t e r c is a l w a y s u s e d i n c o n j u n c t i o n w i t h t h e n o r m a l s i g n s , w h e r e a s t h e l e t t e r t is u s u a l l y a l l i e d to a n e p i s e m a ( i n t h e s a m e o r o n e of t h e o t h e r s o u r c e s ) . Striking This c o n f i r m a t i o n of t h e sense of the e p i s e m a s c o m e s f r o m t h e n o t a t i o n o f L a o n 2 3 9 . Pascha nostrum, w i t h the signs i n St Gall

376

IV.

Notation

E x . I V . 5 . 2 . N o r m a l and m o d i f i e d signs in St G a l l notation (selection)

normal clivis pes porrectus torculus climacus scandicus

modified

/)

J rv J\
/:
/

/f

/r

jl J) j] JU >: X A A

y
A

from Alleluia Pascha nostrum (notation of St.Gall

3 5 9 , 3 3 9 and Einsiedeln

121)

339

_/<//

<JV

J)

J--K
f

nA

J\f:

J\

xAf

_e.

Sr*

r
-ia.

+>\ rU\

JY,^

rr

Al-le - lu-

359

JK
C /

A
m
m

/ AA
A
1 / R /

/._

/ J[ /_
A
^

y
/

339
E 121
^ n

- /

J A /- 1
' '

/7 /-_ .-. / *
A
4

^
's.
^

_/V Vv'*

A /T -

v/= A A #

JL

immo-la-

-tus

est

s o u r c e d o e s n o t h a v e e p i s e m a s , b u t m a k e s m u c h m o r e f r e q u e n t use of t h e l e t t e r s a a n d /, b o t h m e a n i n g a l e n g t h e n i n g of s o m e s o r t . E x . I V . 5 . 3 g i v e s first the ' n o r m a l ' a n d t h e ' l o n g e r ' s i g n s i n L a o n 2 3 9 , t h e n the s a m e e x t r a c t s horn Alleluia Pascha nostrum. the O n e i m p o r t a n t f e a t u r e of the s e c o n d p a r t of E x . I V . 5 . 2 i n p a r t i c u l a r is t h a t

n o t e s are g r o u p e d i n e x a c t l y t h e s a m e w a y s i n g l e n o t e s , t w o s , t h r e e s , a n d so o n i n a l l t h e s o u r c e s . T h e p h r a s i n g of the m e l o d y w a s o b v i o u s l y i m p o r t a n t e n o u g h t o h a v e b e e n t r a n s m i t t e d w i t h a f a i r degree of u n i f o r m i t y . I n a s t r i k i n g l y l a r g e n u m b e r o f

5. Ex. IV.5.3.

The

Notation

of

Rhythm

N o r m a l and 'longer' signs i n L a o n notation (selection)

normal clivis pes porrectus torculus climacus scandicus

longer
r r j/ r X. r

1x

J y .A
*

r J r r . r r r r r

V
r

/ r

from Alleluia Pascha nostrum (notation of Laon

239)
M

re*r

*f

Jh)
-ia.

.*

As-

Al-le - lu-

immo-la-

est

i n s t a n c e s , t h e g r o u p e n d s w i t h a l o n g e r n o t e . T h e r h y t h m i c s i g n i f i c a n c e of t h e p o i n t of s e p a r a t i o n b e t w e e n t h e g r o u p s h a s b e e n s t u d i e d i n d e p t h b y C a r d i n e ( h i s t e r m f o r it was ' c o u p u r e n e u m a t i q u e ' ) . It i s e n l i g h t e n i n g to o b s e r v e t h e c o n s i s t e n c y w i t h w h i c h o n e of t h e s t a n d a r d p h r a s e s of t h e r e p e r t o r y is r e p r o d u c e d i n these e a r l y s o u r c e s . E x . I V . 5 . 4 g i v e s a s t a n d a r d p h r a s e f r o m t h e g r a d u a l s of m o d e 5 ( p h r a s e F I i n A p e l ' s a n a l y s i s ) w i t h t h e n e u m e s o f L a o n 2 3 9 a n d S t G a l l 3 5 9 . T h e n o t a t i o n is g i v e n c o m p l e t e f o r t h e p h r a s e i n non conturbabitufy whereas for five o t h e r g r a d u a l s o n l y d e v i a t i o n s are o r augete) ( T h r e e o f t h e m are n o t p r e s e n t i n L a o n 2 3 9 . ) is fast (cito o r celeriter)} Iustus recorded.

T h e l a c k of d i s a g r e e m e n t is o b v i o u s . a n d h o w fast (since

T h e q u e s t i o n i m m e d i a t e l y a r i s e s , h o w s l o w is s l o w (tenete

T h e r e is u n f o r t u n a t e l y n o c l e a r a n s w e r . A n d w i t h h o w m a n y

g r a d a t i o n s of d u r a t i o n d o w e h a v e t o r e c k o n ( h o w e v e r a p p r o x i m a t e l y ) ? t w o

t h e s i g n s o n t h e i r o w n , w i t h o u t l e t t e r s , c a n be r o u g h l y d i v i d e d o n l y i n t o ' n o r m a l ' a n d ' l o n g e r ' ) , o r p e r h a p s m o r e ? D o t h e s i g n i f i c a t i v e letters s i m p l y w a r n a b o u t s o m e t h i n g

E x . I V . 5 . 4 . A standard phrase f r o m mode 5 graduals ( A p e l E l ) w i t h L a o n and St G a l notation

Iustus conturbabitur G T 476

frk

^ qui-a Laon do1 J St.Gall

^ - m i - nus < . /V)

*^

fir-

Christus factus G T 148

Exiit sermo* G T 636 E c c e sacerdos* G T 486 Timebunt gentes G T 265 (no variants)

St.Gall //

Laon

1 j

Laon

* '

Misit dominus* G T 261

(no variants)

i n t h e n o t a t i o n a n y w a y , o r d o t h e y m a r k a n e x t r a d e g r e e of s l o w n e s s o r fastness? W h a t s h a d e s of d i f f e r e n c e d i v i d e t h e s i g n s g i v e n i n E x . I V . 5 . 5 ? It is n o t i c e a b l e t h a t i n t h e E a s t e r n s o u r c e s c is u s e d f a r m o r e w i t h t h e c l i v i s t h a n w i t h the pes, whereas i n L a o n c appears only w i t h the pes.

Ex. IV.5.5. Possible gradations of duration in pes and clivis ( L a o n and St G a l l notations)
^ longer shorter >

Laon

St. Gal

/ /
*

J-

A
1

Laon

'

X.

St.Gall

/)

5. Some

The

Notation

of Rhythm

379

writers have argued that Pascha nostrum

the shorter

and longer notes stand i n a strict above IV.5.6.

m e n s u r a l r e l a t i o n s h i p to o n e a n o t h e r , so t h a t M u r r a y ( 1 9 6 3 ) t r a n s c r i b e d t h e p a s s a g e f r o m All. as s h o w n i n E x .

E x . I V . 5 . 6 . M e n s u r a l t r a n s c r i p t i o n of passages f r o m Alleluia 1963)

Pascha

nostrum

(after M u r r a y

p i ilf J 7 7 f ff i T tT rf J r tUjO f H tE T f f f U j j J
Al-le-lu2

-ia.

f]

1 - jrt

Tr
immola-

ftr

r?f fff?> f tfr

fcHffi

-tus

est

T h e V a t i c a n g r a d u a l of 1908,

p r o d u c e d u n d e r P o t h i e r ' s l e a d e r s h i p , d i d n o t reflect

a n y of t h e r h y t h m i c d e t a i l of t h e a b o v e - m e n t i o n e d m a n u s c r i p t s , f o r P o t h i e r b e l i e v e d it w a s o n l y of l o c a l s i g n i f i c a n c e . T h e e d i t i o n s p r o d u c e d b y S o l e s m e s u n d e r M o c q u e r e a u ' s direction, however, i n c l u d e d dots and horizontal bars, i n d i c a t i n g l e n g t h e n i n g , w h i c h d e r i v e f r o m t h e e a r l y s o u r c e s . I n S o l e s m e s p r a c t i c e , t h e s e are r e g a r d e d as r h y t h m i c n u a n c e s , n o t s u s c e p t i b l e to r i g i d m e a s u r e m e n t . (The Solesmes interpretation under M o c q u e r e a u a n d G a j a r d , f a m o u s f r o m m a n y g r a m o p h o n e r e c o r d i n g s , is e x p l a i n e d i n M o c q u e r e a u 1 9 0 8 - 2 7 a n d G a j a r d 1 9 5 1 . ) A t a n o t h e r e x t r e m e , it is p o s s i b l e t o r e g a r d the shorter n o t e s as a t y p e of ornamental figuration, to be performed like the o r n a m e n t s i n B a r o q u e m u s i c , o r , better, the roulades i n s o m e n o n - E u r o p e a n m u s i c s . A p r e c u r s o r i n s o m e w i s e of t h i s t y p e of m o d e r n p e r f o r m a n c e w a s D e c h e v r e n s , w h o s e f a n c i f u l t r a n s c r i p t i o n of All. Decheverens 1898, iii/2, Pascha nostrum is s h o w n i n E x . I V . 5 . 7 (taken from 465).

T h e r e c a n be n o d o u b t t h a t r h y t h m i c d i f f e r e n t i a t i o n w a s a n e s s e n t i a l e l e m e n t i n t h e p r a c t i c e of t h o s e c h o i r s f o r w h o m t h e S t G a l l , L a o n a n d o t h e r s o u r c e s w e r e w r i t t e n . The fact t h a t t h e L a o n s o u r c e is w i d e l y s e p a r a t e g e o g r a p h i c a l l y f r o m t h e others s u g g e s t s t h a t t h i s w a y of s i n g i n g c h a n t w a s q u i t e w i d e s p r e a d . H o w l o n g it p e r s i s t e d is unclear. Several comparative tables of signs f r o m early sources have been published, most etc.), and d i s p l a y i n g t h e r a n g e of c h a r a c t e r s used for each m e l o d i c p r o g r e s s i o n . T h e

detailed tables for St G a l l n o t a t i o n have been p u b l i s h e d b y C a r d i n e (1968

f o r L a o n 2 3 9 i n t h e E n g l i s h t r a n s l a t i o n of C a r d i n e . I n P a l M u s 11 ( 5 5 - 8 ) a n d S u n o l (1935, 1 4 7 - 5 2 ) signs f r o m St G a l l , L a o n 239, a n d C h a r t r e s , B i b l i o t h e q u e M u n i c i p a l e 47 are p r e s e n t e d .

E x . I V . 5 . 7 . Mensural transcription Dechevrens 1898, iii/2, 465)

of

passages f r o m Alleluia

Pascha

nostrum

(after

Al-lelu -J?

i J J u.
1

ia.

\,
9m

-y
PM 1

- !>
7

V f

f - r -

>

fl

F"

I N r
f P

immo-la-if^Tff

ifrf

g ffffif
^
-tus

^ * , , ^ , T . 7> i f t l "* r ***** 'f' tz

JL f ff -T^~g>f f m f > ~f # f

* V

* J * J

-J^ est

(ii) Rhythm Interesting

in Simple approaches

Antiphons to t h e r h y t h m of o f f i c e a n t i p h o n s h a v e b e e n d e v e l o p e d by

J a m m e r s ( 1 9 3 7 ) a n d L i p p h a r d t ( 1 9 5 0 ) . T h e m o s t v a l u a b l e p a r t o f t h e i r w o r k has c o n s i s t e d i n c o m p a r i n g a n t i p h o n s of the s a m e m e l o d i c f a m i l y i n o r d e r to see if t h e y had a c o m m o n r h y t h m i c t r a d i t i o n , u s i n g the e v i d e n c e of t h e n o t a t i o n i n H a r t k e r ' s a r . t i p h o n e r , S t G a l l 3 9 0 - 3 9 1 ( P a l M u s I I / l ) . T h i s has h e l p e d e s t a b l i s h c o n v e n t i o n s f o r the r e l a t i o n s h i p s b e t w e e n t h e s i g n s f o r s i n g l e n o t e s a n d t h o s e f o r m o r e t h a n o n e n o t e , at least (among i n p r e d o m i n a n t l y s y l l a b i c passages. J a m m e r s other chants) antiphons from Gevaert's gregorienne, provided transcriptions 1-11, of Themes Lipphardt from which

T h e m e 2 9 . B r i e f e r d e m o n s t r a t i o n s of the s a m e p r i n c i p l e c a n be f o u n d i n C a r d i n e ' s w ) r k ( f o r e x a m p l e i n Semiologie c h . 3). Consider Ex. IV.5.8, develops one of L i p p h a r d t ' s e x a m p l e s . If w e a s s u m e t h a t t h e m e l o d y p r o c e e d s i n b a s i c a l l y e q u a l n o t e s , w e c a n see t h a t t h e a r g u l a r p e s at t h e b e g i n n i n g of p h r a s e t w o e q u a l s t w o s y l l a b l e s w i t h s i n g l e n o t e s . The v i r g a w i t h e p i s e m a f o r ' [ s a ] c r a [ t a ] ' l i k e w i s e s e e m s e q u i v a l e n t to t w o s i m p l e v i r g a e . S o a h o t h e c l i v i s w i t h e p i s e m a at t h e e n d of the t h i r d p h r a s e , w h i c h i n t u r n s u g g e s t s t h a t the c l i v i s w i t h c i n p h r a s e t w o s h o u l d be t w i c e as f a s t . A t t h e b e g i n n i n g of three, phrase it is p a r t i c u l a r l y i n t e r e s t i n g to see h o w the s a m e n o t e s a r e a d a p t e d to t w o

s y l l a b l e s (a ' s l o w ' pes a n d ' s l o w ' c l i v i s ) , t h r e e s y l l a b l e s ( ' s l o w ' pes a n d t w o v i r g a e ) , f o u r s y l l a b l e s ( f o u r s i m p l e n o t e s ) o r e v e n five s y l l a b l e s ( ' g l o r i - ' w i t h a r , t h a t is q u i c k l y ) . It is n o t d i f f i c u l t t o m a k e a t r a n s c r i p t i o n i n 2/4 o r 4/4 t i m e of t h e s e a n t i p h o n s ( L i p p h a r d t opts q u i x o t i c a l l y f o r 6/4), a r r a n g i n g stressed s y l l a b l e s to c o i n c i d e w i t h t h e b e g i n n i n g s of b a r s . O n e w o n d e r s if t h e m e l o d y h a d a n i n h e r e n t r h y t h m , so t o s p e a k , f o r w h i c h

Ex.

IV.5.8.

A n t i p h o n s w i t h the same m e l o d y (notation of St G a l l 3 9 0 - 3 9 1 , P a l M u s

11/1;

p i t c h e s d e r i v e d f r o m B a m b e r g , S t a a t s b i b l . l i t . 25)

P P P
GauDig-

r
tu in mu-li-

Be - ne/

-dic-ta

e - n-

-bus

na - re

me lau-

da- re / J

te

uir-

-go s a -

-cra/ /

ta

r
es san-cta De-i

xal-

- t a - ta V

ge-ni-

trix

r
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t h e s e t e x t s w e r e d e l i b e r a t e l y c o m p o s e d . O r w e r e t h e r e t r a d i t i o n a l w a y s of ' r h y t h m i c i z i n g ' t e x t s to b r i n g t h e m i n t o l i n e w i t h t h i s a n d o t h e r m e l o d i c s c h e m e s ? It has to b e s a i d t h a t t h i s g r o u p of a n t i p h o n s d i s p l a y s a m o r e r e g u l a r s t r u c t u r e t h a n m a n y o t h e r s , a n d attempts chants. B e t h a t as it m a y , C a r d i n e d e v e l o p e d a t h e o r y of s y l l a b i c e q u i v a l e n c e , r e l a t i n g t h e l e n g t h of n o t e s t o t h e n o r m a l d e l i v e r y of a s y l l a b l e w i t h a s i n g l e n o t e . T h i s t i m e - u n i t is t h e ' s y l l a b i c b e a t ' ( ' t e m p s s y l l a b i q u e ' ) . S u c h a n o t e is n o r m a l l y n o t a t e d i n S t shortened b y the letter 'c'. T h e shorter durations. a n g u l a r pes a n d t h e c l i v i s w i t h e p i s e m a are Gall or then s o u r c e s as a n o r d i n a r y v i r g a o r t r a c t u l u s . It c a n be l e n g t h e n e d w i t h a n e p i s e m a e q u i v a l e n t to t w o s y l l a b i c beats, whereas the n o r m a l pes a n d c l i v i s w i l l to find similar rhythmic schemes elsewhere often appear improbable. ornate F u r t h e r m o r e , different performance conventions m a y have existed for m o r e

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c o m p a r i s o n of m a n u s c r i p t s w i t h o n e a n o t h e r , a n d of s i m i l a r m u s i c a l passages i n t h e s a m e m a n u s c r i p t . P a r t i c u l a r l y c o m p r e h e n s i v e a n d p a i n s t a k i n g w o r k of t h i s k i n d has b e e n a c c o m p l i s h e d b y C a r d i n e a n d s t u d e n t s at t h e P o n t i f i c i o I s t i t u t o d i M u s i c a S a c r a i n R o m e . ( T h e r e are s u m m a r i e s of these s t u d i e s b y A l b a r o s a 1974, the j o u r n a l s Etudes gregoriennes a n d Be it rage zur gregoriana, Gregorianik. respectively). 1977, 1983, and l i s t s i n t h e C a r d i n e F e s t s c h r i f t 1980 a n d A l b a r o s a 1 9 8 3 . M a n y h a v e b e e n p u b l i s h e d i n Cardine summed up appeared h i s o w n w o r k i n t h e b o o k Semiologia 1968, w h i c h s u b s e q u e n t l y

i n F r e n c h a n d E n g l i s h v e r s i o n s , 1970 a n d 1982

C a r d i n e d u b b e d t h e s e s t u d i e s ' s e m i o l o g y ' , i n the g e n e r a l sense of ' s t u d y of s i g n s ' . ( T h e t e r m is n o t u s u a l l y u s e d of the m e c h a n i c s of w r i t i n g - s y s t e m s b u t of m o d e s of h u m a n c o m m u n i c a t i o n , p a r t i c u l a r l y i n the area of l i n g u i s t i c s , a n d a l s o r e c e n t l y i n t h e a n a l y s i s of m u s i c . ) M o s t of t h e s t u d i e s h a v e t a k e n a s i n g l e s i g n a n d e x p l o r e d its use throughout one or m o r e of t h e early m a n u s c r i p t s referred to above. The main e m p h a s i s of t h e w o r k h a s b e e n o n the r h y t h m i c w e i g h t of t h e n o t e s r e p r e s e n t e d b y t h e signslight or heavy, movementand their part of a f l u i d p r o g r e s s i o n or m a r k i n g a pause i n m e l o d i c articulation, with special reference to the grouping and finesse

s e p a r a t i o n of n o t e s . It has s h o w n that the e a r l y s c r i b e s d i s p l a y e d c o n s i d e r a b l e i n a d a p t i n g s i g n s to r e f l e c t n u a n c e s of here, but some i d e a of the performance. be seen t h r o u g h o n e G a l l 359 (the this means

T o s u m m a r i z e a l l t h e f i n d i n g s to date of t h i s t y p e of r e s e a r c h is n a t u r a l l y i m p o s s i b l e insights gained may example, b o o k is a the Ponchelet's eantatorium; w o r k ( 1 9 7 3 ) o n t h e use of t h e s a l i c u s i n S t s i n c e t h e s a l i c u s is n o t u s e d i n t r a c t s ,

i n effect t h a t

investigation concerns graduals and alleluias). If f o l l o w e d b y o t h e r n o t e s i n a large g r o u p , the s a l i c u s has a n e p i s e m a o n t h e f i n a l v i r g a 104 o u t of 120 t i m e s ; b u t w h e n t h e r e is a c h a n g e of s y l l a b l e a f t e r the s a l i c u s t h e e p i s e m a is a d d e d o n l y s i x o u t of 239 t i m e s . ( A l l these i n s t a n c e s are d i s p l a y e d i n t a b l e s ,

a r r a n g e d a c c o r d i n g t h e m e l o d i c c o n t e x t . ) T h i s s e e m s t o s u g g e s t t h a t t h e last n o t e is a l w a y s p r o l o n g e d , f o r a c h a n g e of s y l l a b l e w i l l n a t u r a l l y c a u s e at least a s l i g h t d e l a y o n t h e note. F o r the salicus f o l l o w e d b y f u r t h e r notes i n a large g r o u p , f u r t h e r analysis d i s t i n g u i s h e s b e t w e e n cases w h e r e it is f o l l o w e d b y a h i g h e r n o t e , a n o t e at t h e s a m e p i t c h , o r a l o w e r n o t e . C a s e s are t r a c e d w h e r e t h e s a m e m e l o d i c p h r a s e is f o u n d o v e r one syllable or split between t w o or m o r e syllables (for e x a m p l e i n the cadence f o r m u l a f o r t h e v e r s e s o f t h e ' I u s t u s ut p a l m a ' g r o u p of m o d e 2 g r a d u a l s ) . S t a n d a r d p h r a s e s of t h i s s o r t n a t u r a l l y p r o v i d e p r i m e m a t e r i a l f o r i n v e s t i g a t i o n . T h e r e s u l t s d o n o t , of c o u r s e , n e c e s s a r i l y b e a r o n o t h e r m a n u s c r i p t s . A s P o n c h e l e t p o i n t s o u t , S t G a l l 339 salicus. stands Does is f a r m o r e s p a r i n g of t h e e p i s e m a o n t h e last n o t e o f t h e a change of p e r f o r m a n c e practice Gall, at St Gall? How 359 the this indicate

w i d e s p r e a d , t h e n , w a s t h e t y p e of p e r f o r m a n c e i n d i c a t e d i n S t G a l l 3 5 9 ? S t G a l l near the b e g i n n i n g of t h e w r i t t e n t r a d i t i o n at S t perhaps near firmly

b e g i n n i n g of t h e s i n g i n g t r a d i t i o n ; o n e m i g h t s u r m i s e t h a t l a t e r s c r i b e s felt less n e e d to i n c l u d e episemas, the p e r f o r m a n c e t r a d i t i o n b e i n g b y t h e n m o r e Comparisons with other traditions, those of Laon 239 and established. 47, are T h e e p i s e m a i n the later m a n u s c r i p t s w o u l d b y this r e a s o n i n g c a r r y greater w e i g h t . Chartres i l l u m i n a t i n g . I n cases w h e r e t h e s a l i c u s i n S t G a l l 359 i s f o l l o w e d b y o t h e r n o t e s , t h e s e s o u r c e s have a salicus o n o n l y about one i n eight occasions; w h e r e the salicus precedes a c h a n g e of s y l l a b l e , t h e p r o p o r t i o n is a b o u t h a l f . W h e n n o t n o t a t i n g a s a l i c u s , L a o n 2 3 9 u s u a l l y has a s c a n d i c u s w i t h t b y t h e final n o t e , w h i l e C h a r t r e s 47 has a s i m p l e scandicus. P o n c h e l e t can therefore c l a i m that i n the salicus i n these early sources r h y t h m i c w e i g h t is a l w a y s d i r e c t e d o n to t h e final n o t e . F o r C h a r t r e s 4 7 o n e h a s t o a s s u m e t h a t i n m a n y cases t h e w e i g h t is felt s i m p l y b e c a u s e it is t h e final n o t e of t h e t h r e e , e v e n i n t h e a b s e n c e of a n y g r a p h i c e m p h a s i s (the o r i s c u s e l e m e n t , o r a s i g n i f i c a t i v e l e t t e r ) . T h e n a t u r e of t h e s i g n is i n v e s t i g a t e d p u r e l y i n r h y t h m i c t e r m s , as is a l s o t h e case w i t h the q u i l i s m a i n the studies by C a r d i n e (1968) a n d Wiesli (1966). This means i n e v i t a b l y that t h e d i s t i n c t i o n b e t w e e n a l l the s i g n s w h i c h c o m p r i s e t h r e e n o t e s i n a s c e n d i n g o r d e r , s c a n d i c u s , s a l i c u s , a n d q u i l i s m a , is a v e r y fine o n e . If the o r i s c u s element i n the s a l i c u s ( o r t h e ' t r e m b l i n g ' e l e m e n t i n t h e q u i l i s m a ) has a n y other m e a n i n g s a y , p u r e l y h y p o t h e t i c a l l y , the n o n - d i a t o n i c p i t c h suggested b y W a g n e r t h e n t h i s t y p e o f s t u d y w i l l n o t r e v e a l i t , f o r its p r i n c i p a l t o o l s o f i n v e s t i g a t i o n are p u r e l y r h y t h m i c : e p i s e m a , s i g n i f i c a t i v e l e t t e r s , a r t i c u l a t i o n i n t o n o t e - g r o u p s . It h a s to be s a i d t h a t if t h e o r i s c u s e l e m e n t r e a l l y does r e p r e s e n t s o m e e x t r a o r d i n a r y e l e m e n t of performance, its r e l a t i v e l y rare o c c u r r e n c e i n L a o n 239 a n d C h a r t r e s 47, in the c o n t e x t s i n v e s t i g a t e d , is m o r e d i f f i c u l t to e x p l a i n . T h e e a r l y e d i t i o n s p u b l i s h e d at S o l e s m e s of m u s i c - b o o k s f o r t h e m o d e r n l i t u r g y t h e Liber usualis is s t i l l t h e best k n o w n i n c l u d e d n u m e r o u s d o t s , b a r s , a n d o t h e r s i g n s , i n s p i r e d b y t h e n o t a t i o n of t h e e a r l y s o u r c e s . T h e w o r k o f t h e ' s e m i o l o g i s t s ' h a s r e s u l t e d i n a n e w s e n s i t i v i t y t o t h e s e m a t t e r s , a n d it is c o m m o n f o r m o d e r n p e r f o r m e r s to use t h e Graduate triplex, w h e r e t h e n o t a t i o n of L a o n 2 3 9 a n d o n e of t h e e a r l y Romanum of E a s t e r n s o u r c e s is c o p i e d i n t o the S o l e s m e s e d i t i o n of t h e Graduate

1974. M a n u a l s of t h e n e w t y p e of c h a n t p e r f o r m a n c e h a v e b e e n p r o d u c e d b y A g u s t o n i (1963) and by A g u s t o n i and G o s c h l (1987).

(i v ) The Evidence

of

Theorists note-lengths final

E a r l y m e d i e v a l w r i t i n g s on chant help but little i n u n d e r s t a n d i n g h o w

w e r e d i f f e r e n t i a t e d . O n e g r o u p of r e l a t e d w r i t i n g s , w h i c h w a s d i s c u s s e d at l e n g t h b y V o l l a e r t s ( 1 9 6 0 ) , a m o n g o t h e r s , has l i t t l e to d o w i t h the m a t t e r , f o r it r e f e r s to the n o t e s of c h a n t s , of t h e i r p h r a s e s a n d s u b - p h r a s e s . A s B o w e r has e x p l a i n e d ( 1 9 8 9 ,

' M o d e l ' ) , t h i s is d o n e b y a n a l o g y w i t h the g r a m m a t i c a l s t r u c t u r e of t h e text b e i n g s u n g : t h e m u s i c a l d e l i v e r y s h o u l d reflect the g r a m m a t i c a l s t r u c t u r e , b y m a k i n g t h e h i e r a r c h y of t e x t - u n i t s c l e a r . T h i s g r o u p of w r i t i n g s i n c l u d e s t h e Scolica (ed. H a n s S c h m i d 1981, the commentaries on Commentarius p a r s 1, 8 6 - 7 ) , G u i d o of A r e z z o ' s Micrologus latter by Aribo (CSM 2. 48-50, 65-70) (ed. Smits van Waesberghe the enchiriadis ( c h . 15), and in and the

in Micrologum

1 9 5 7 ) . S e v e r a l of G u i d o ' s

c o m m e n t s r e f e r also to p r o p o r t i o n a l r e l a t i o n s h i p s b e t w e e n ' n e u m e s ' , t h a t i s , b e t w e e n p h r a s e s of c h a n t s ; s o m e n e u m e s w i l l be of e q u a l l e n g t h , w h i l e t h e l e n g t h s of o t h e r s w i l l s t a n d i n a p r o p o r t i o n of o n e to t w o , o n e to t h r e e , t w o to t h r e e , o r t h r e e to f o u r . T h i s d o e s n o t r e f e r to t h e d u r a t i o n s of i n d i v i d u a l Two of the d i f f e r e n t n o t e - l e n g t h s . T h e Commemoratio notes. brevis of the late n i n t h century to o t h e r p a s s a g e s h a v e also b e e n a d d u c e d i n s u p p o r t of a m e t r i c a l i n t e r p r e t a t i o n

c o n t a i n s a n u m b e r of r e f e r e n c e s to the d i f f e r e n t s p e e d s of s i n g i n g a p p r o p r i a t e f o r c o n t r o l l e d v a r i a t i o n s s u c h as a ' r a l l e n t a n d o ' ) , a n d also to l o n g a n d s h o r t

d i f f e r e n t o c c a s i o n s o r t y p e s of c h a n t , to t h e m a i n t a i n a n c e of a s t e a d y t e m p o ( e x c e p t notes. T o w a r d s t h e c l o s e of t h e passage it is s a i d that these are i n the p r o p o r t i o n 2 : 1 : Breves must not be slower than is fitting for breves; nor may longs be distorted i n erratic haste and made faster than is appropriate for longs. But just as all breves are short so must all longs be u n i f o r m l y l o n g , except at the divisions, w h i c h must be s u n g w i t h similar care. A l l notes w h i c h are long must correspond r h y t h m i c a l l y w i t h those w h i c h are not l o n g t h r o u g h their proper inherent durations, and any chant must be p e r f o r m e d entirely, f r o m one end to the other, according to this same r h y t h m i c scheme. In chant w h i c h is s u n g q u i c k l y this p r o p o r t i o n is maintained even though the melody is slowed towards the e n d , or occasionally near the beginning (as i n chant w h i c h is sung slowly a n d c o n c l u d e d in a q u i c k e r m a n n e r ) . F o r the longer values consist of the shorter, and the shorter subsist i n the longer, and i n such a fashion that one has always twice the d u r a t i o n of the other, neither more or less. W h i l e singing, one choir is always answered by the other i n the same t e m p o , and neither may sing faster or slower. ( E d . Bailey 1979, 103.) Since Scolica t h e Commemoratio enchiriadis, brevis b e l o n g s to the s a m e m a n u s c r i p t t r a d i t i o n as the

o n e n a t u r a l l y asks if the l o n g n o t e s r e f e r r e d to h e r e are t h o s e at est also

t h e e n d s of g r a m m a t i c a l u n i t s , the ' s y l l a b l e s ' , ' n e u m e s ' , a n d ' p e r i o d s ' of c h a n t . A n o t h e r r e l e v a n t t e x t , u n r e l a t e d to t h o s e m e n t i o n e d so f a r , is t h e t r e a t i s e Quid cantus? i n t h e V a t i c a n m a n u s c r i p t P a l . lat. 2 3 5 , discussed by W a g n e r (1904,

W a g n e r I I , 3 5 5 - 8 ) a n d B a r a l l i ( 1 9 0 5 ) . T h i s s h o r t t r e a t i s e , w h i c h a p p e a r s to d a t e f r o m t h e e l e v e n t h c e n t u r y , has a l r e a d y b e e n c i t e d b e c a u s e of its w e l l - k n o w n s t a t e m e n t r e l i e s o n g r a m m a t i c a l t e r m i n o l o g y . J u s t as t h e r e are a c u t e , a c c e n t s i n t h e m e l o d y (tonus), that ' t h e s i g n k n o w n as a n e u m e c o m e s f r o m a c c e n t s ' (see a b o v e ) , a n d m u c h else i n t h e t e x t grave, and circumflex says t h e a n o n y m o u s a u t h o r , so t h e r e are l o n g a n d s h o r t be

s y l l a b l e s i n t h e feet of t h e t e x t . H e goes o n to d e s c r i b e s o m e of t h e b a s i c s h a p e s o f t h e m u s i c a l s i g n s , a n d g i v e s i n s t a n c e s f r o m t h e c h a n t r e p e r t o r y w h e r e t h e y are t o f o u n d : l o n g a n d s h o r t , the v a r i o u s ' a c c e n t s ' , t h e ' t r e m u l a ' ( q u i l i s m a ) , ' t r i a n g u l a t a ' ( t r i g o n ) a n d so o n . O n t h e b a s i s of t h e a n a l o g y w i t h m e t r i c a l feet, a 2 : 1 r e l a t i o n s h i p b e t w e e n l o n g a n d s h o r t c o u l d be s a i d to exist h e r e .

(v)

Conclusions

W h a t e v e r t h e t r u t h b e h i n d t h e m a t t e r , s o m e r e s e r v a t i o n s are i n o r d e r . It s e e m s m o s t u n l i k e l y t h a t p r a c t i c e w a s u n i f o r m e v e r y w h e r e . It is t r u e t h a t s o u r c e s are i n g e n e r a l s u r p r i s i n g l y u n i f o r m i n t h e i r g r o u p i n g of n o t e s a n d e v e n i n t h e p l a c i n g of s u c h s p e c i a l features sources as q u i l i s m a s . A n d t h e correspondences between L a o n 239 and Eastern have ( a n d o t h e r e a r l y s o u r c e s to v a r y i n g d e g r e s s ) i n m a t t e r s of r h y t h m i c d e t a i l is g e n e r a l , n o t e x a c t . A n y c l a i m t o

c a n n o t be o v e r l o o k e d . B u t the agreement

i d e n t i f i e d an ' a u t h e n t i c ' p e r f o r m a n c e t r a d i t i o n s h o u l d be treated w i t h c a u t i o n . A n o t h e r p o i n t has b e e n r a i s e d b y H u c k e ( 1 9 5 8 , ' R h y t h m u s ' ) : c a n w e n e c e s s a r i l y a s s u m e t h a t a l l t y p e s of c h a n t w e r e s u n g i n the s a m e w a y ? W e c o u l d at least i m a g i n e a d i f f e r e n c e b e t w e e n , say, h y m n s , a n t i p h o n s , a n d r e s p o n s o r i e s , to m e n t i o n o n l y t h e o f f i c e c h a n t s . A n d t h e a u t h o r of t h e Commemoratio even w i t h i n the antiphons, for e x a m p l e : T h e repetitions of the antiphons w h i c h occur between the verses (of psalms) s h o u l d be at the same speed as the psalms, but when the psalm is finished the a n t i p h o n is to be s l o w e d by exactly half to its proper tempo. T h e r e is an exception i n the case of the G o s p e l Canticles, w h i c h are sung so slowly that their antiphon s h o u l d f o l l o w at the same t e m p o , and not be further protracted. ( E d . Bailey, 107.) Finally, flexible our experience of the r h y t h m i c characteristics of music outside the brevis repeatedly mentions variety

t r a d i t i o n of W e s t e r n a r t - m u s i c has o p e n e d o u r ears to t h e p o s s i b i l i t y of m u c h m o r e patterns t h a n can be r e c o r d e d easily w i t h c o n v e n t i o n a l W e s t e r n n o t a t i o n . O n e 4. 731, has o n l y to l o o k at t r a n s c r i p t i o n s of, s a y , t h e c h a n t of t h e C o p t i c c h u r c h (NG

c o l . 1) to b e c o m e s u s p i c i o u s of s i m p l e ' e q u a l i s t ' o r ' m e n s u r a l i s t ' i n t e r p r e t a t i o n s . M i g h t n o t t h e s i n g i n g o f the n i n t h c e n t u r y be e q u a l l y d i f f i c u l t to c a p t u r e i n m o d e r n w r i t t e n f o r m ? M e a n w h i l e t h e m i n u t e i n v e s t i g a t i o n a n d r e c o r d i n g of t h e w a y s i n w h i c h s i g n s were e m p l o y e d p r o v i d e s essential evidence for a better u n d e r s t a n d i n g not o n l y of r h y t h m i c m a t t e r s b u t also of o t h e r a s p e c t s of c h a n t n o t a t i o n .

IV.6.

P I T C H - N O T A T I O N

(i) F r o m the N i n t h C e n t u r y to W i l l i a m of D i j o n (ii) G u i d o of A r e z z o (iii) S t a f f - N o t a t i o n i n D i f f e r e n t L a n d s S m i t s van Waesberghe 1957 ' O r i g i n e s ' ; C r o c k e r 1979; B r o w n e 1981. (i) From

the Ninth

Century

to William

of

Dijon

I n C h . V , w h e r e w r i t i n g s o n m u s i c t h e o r y w h i c h c o n c e r n p l a i n c h a n t are d i s c u s s e d , t h e c r u c i a l i m p o r t a n c e is e m p h a s i z e d of t h e w a y i n w h i c h t h e p l a i n c h a n t r e p e r t o r y w a s m a t c h e d w i t h the p i t c h - s y s t e m b o r r o w e d t h r o u g h B o e t h i u s f r o m classical teaching, t h e G r e e k G r e a t e r P e r f e c t S y s t e m . T h e l i n k s e e m s to h a v e b e e n m a d e i n t h e n i n t h c e n t u r y : at least, its c l e a r e s t e a r l y f o r m u l a t i o n is f o u n d i n t h e w r i t i n g s o f H u c b a l d of S a i n t - A m a n d (d. 930); enchiriadis, Scolica a n d t h e g r o u p of t r e a t i s e s u s i n g d a s i a n a n d Commemoratio brevispossibly notationMusica earlier than enchiriadis,

H u c b a l d , also use a p i t c h - s y s t e m . D a s i a n n o t a t i o n is a p i t c h - n o t a t i o n , a n d H u c b a l d t o o p r o p o s e d t h e use of a p i t c h - s p e c i f i c n o t a t i o n . H i s i d e a w a s to use a s e r i e s of l e t t e r s (borrowed from the Alypian the reason 'vocal' and 'instrumental' letters, again through B o e t h i u s ) , w h i c h w o u l d b e p l a c e d b y t h e s i d e of t h e t r a d i t i o n a l n o t a t i o n . H u c b a l d w a s quite explicit about for wanting both notations: the t r a d i t i o n a l signs i n d i c a t e d p h r a s i n g , l o n g e r o r s h o r t e r n o t e s , t r e m b l i n g n o t e s , a n d so o n , w h i l e t h e l e t t e r s w o u l d m a k e c l e a r t h e p i t c h of t h e n o t e s . A l t h o u g h the dasian p i t c h - s y m b o l s enjoyed a certain restricted c u r r e n c y i n some b r a n c h e s of t h e t h e o r e t i c a l l i t e r a t u r e , t h e y w e r e n e v e r u s e d i n r e g u l a r (They are discussed i n the next section with other notations chant-books. the used only in

t h e o r e t i c a l l i t e r a t u r e . ) H u c b a l d ' s set of s y m b o l s d o e s n o t s e e m to h a v e b e e n t a k e n u p at a l l . B u t f r o m t h e l a t t e r y e a r s of t h e t e n t h c e n t u r y t h e r e s u r v i v e a n u m b e r of s o u r c e s s u p p l i e d w i t h p i t c h - s y m b o l s . I n s t e a d of the d a s i a n s y m b o l s , o r H u c b a l d ' s e v e n m o r e a r c a n e o n e s , s i m p l e l e t t e r s of t h e a l p h a b e t w e r e u s e d . O n e of t h e e a r l i e s t d o c u m e n t s of t h i s n a t u r e is t h e f a m o u s W i n c h e s t e r m a n u s c r i p t containing organal voices, C a m b r i d g e , C o r p u s C h r i s t i College 473. I n the fascicle w h e r e s e q u e n c e t e x t s w i t h t h e i r m u s i c are c o p i e d , s e v e r a l c o m p o s i t i o n s are p r o v i d e d w i t h a l p h a b e t i c l e t t e r s s i d e b y s i d e w i t h the u s u a l s i g n s . L e t t e r s are p r o v i d e d o n l y f o r t h e first of t h e d o u b l e v e r s i c l e s , f o r the m u s i c r e p e a t s i t s e l f i n t h e s e c o n d v e r s i c l e . C o n v e n t i o n a l c a d e n c e s are o f t e n left w i t h o u t l e t t e r s . s t a r t i n g o n C . T h u s t h e W i n c h e s t e r A-B-C (See H o l s c h n e i d e r 1968 a n d so o n . and This 1 9 7 8 . ) T h e s e r i e s of l e t t e r s c o i n c i d e s n o t w i t h o u r m o d e r n A-G is m o d e r n C-D-F, b u t w i t h a scale

a r r a n g e m e n t of letters was already d e s c r i b e d by B o e t h i u s , a n d H u c b a l d too m e n t i o n s h y d r a u l i c o r g a n s w h o s e l o w e s t n o t e w o u l d be o u r C , a n d w h o s e scale c o r r e s p o n d s t o o u r m o d e r n m a j o r s c a l e . H u c b a l d does not a c t u a l l y a s s i g n l e t t e r s to t h i s s c a l e , Holschneider and others have connected the W i n c h e s t e r letter-notation with but the

f a m o u s W i n c h e s t e r o r g a n d e s c r i b e d b y W u l f s t a n , w h o w a s also p r o b a b l y t h e c o p y i s t of t h e r e l e v a n t p o r t i o n of C a m b r i d g e 4 7 3 . C o i n c i d e n t a l l y , t h i s t y p e of l e t t e r - n o t a t i o n is a g a i n u s e d f o r a s e q u e n c e i n S t G a l l , S t i f t s b i b l i o t h e k 3 8 0 dilecto). The performance, remains earliest unclear. that some chant-books de musica may have been provided with (p. 176, Cannen suo W h e t h e r t h e n o t a t i o n w a s p r i m a r i l y to a i d v o c a l p o l y p h o n y , o r i n s t r u m e n t a l evidence

a l p h a b e t i c n o t a t i o n c o r r e s p o n d i n g to m o d e r n n o m e n c l a t u r e c o m e s f r o m I t a l y . I n t h e first c h a p t e r of t h e a n o n y m o u s Dialogus ( o n c e a t t r i b u t e d t o O d o of C l u n y ) , that the w r i t t e n i n I t a l y at t h e e n d of t h e t e n t h c e n t u r y , t h e a u t h o r r e c o m m e n d s

a p p r o p r i a t e p i t c h - l e t t e r s d e d u c e d f r o m the m o n o c h o r d be c o p i e d against any a n t i p h o n t h a t h a s to b e l e a r n e d . T h e t e a c h e r w i l l p i c k o u t t h e m e l o d y o n t h e m o n o c h o r d , w r i t e the pitch-letters into the b o o k , the p u p i l w i l l then learn b y p l a y i n g the m e l o d y o n the m o n o c h o r d , r e a d i n g f r o m t h e p i t c h - l e t t e r s . T h i s r e p l a c e s t h e o l d m e t h o d of l e a r n i n g b y l i s t e n i n g to t h e t e a c h e r s i n g i n g , ' a n d a f t e r a f e w m o n t h s ' t r a i n i n g , t h e y are a b l e t o d i s c a r d the s t r i n g a n d s i n g b y sight alone, w i t h o u t h e s i t a t i o n , m u s i c they have never h e a r d ' ( t r a n s . S t r u n k 1950, The 105). French. 159, M o s t s u r v i v i n g b o o k s w i t h l e t t e r n o t a t i o n are n o t I t a l i a n , h o w e v e r , b u t

m o s t f a m o u s is t h e D i j o n t o n a r y , M o n t p e l l i e r , F a c u l t e d e M e d e c i n e H .

w r i t t e n i n the first h a l f of t h e e l e v e n t h c e n t u r y , p r o b a b l y at t h e m o n a s t e r y of S a i n t B e n i g n e at D i j o n . I t s n o t a t i o n has a l r e a d y b e e n u s e d t o e x e m p l i f y F r e n c h n o t a t i o n at t h e b e g i n n i n g o f t h i s c h a p t e r . Its g e n e s i s is b o u n d u p w i t h t h e a c t i v i t i e s of t h e g r e a t abbot Cluny, William of Saint-Benigne, was made an Italian of from Volpiano in Lombardy. with the After of of s t u d y i n g a n d t a k i n g t h e m o n k ' s h a b i t i n n o r t h I t a l y he e n t e r e d a n d i n 990 abbot Saint-Benigne, r e f o r m i n g its o b s e r v a n c e s . the chant-books the monastery commission

I n 1001 he w a s i n v i t e d b y D u k e R i c h a r d I I of N o r m a n d y below, IX.5), a n d the alphabetic of

to r e v i v e m o n a s t i c l i f e i n t h e d u c h y . T h e r e s u l t s of t h i s r e f o r m c a n b e t r a c e d c l e a r l y i n of D i j o n a n d N o r m a n d y (see Corbin 1955, n o t a t i o n that is f o u n d i n t h e M o n t p e l l i e r m a n u s c r i p t c a n be s e e n i n a n u m b e r N o r m a n m a n u s c r i p t s (see as f o l l o w s : E x . I V . 6 . 1 . A l p h a b e t i c notation a-p B r o w n e 1981). T h e alphabet r u n s f r o m a t o p ,

a n d , f o r t h e f u l l e s t l i s t of s o u r c e s so f a r , c o r r e s p o n d i n g to m o d e r n c o n v e n t i o n

It is p o s s i b l e t h a t W i l l i a m l e a r n t t h e i d e a of u s i n g a l p h a b e t i c n o t a t i o n i n I t a l y . T h e a-p s y s t e m is a l s o m e n t i o n e d b y t h e t h e o r i s t O d o r a n n u s of S e n s ( 9 8 5 - 1 0 4 6 ) i n a l e t t e r ( e d . B a u t i e r et al. 2 1 3 - 1 4 and cited b y B r o w n e 1981, 12). P r a c t i c a l l y all the sources u s i n g this notation c o n t a i n relatively little m u s i c , a saint's office, a few antiphons or h y m n s , a n d so o n , m a n y a d d e d i n b l a n k s p a c e i n a of 1032 o r 1033

m a n u s c r i p t p r e p a r e d f o r o t h e r p u r p o s e s . T h e flyleaves of t h e H e r e f o r d n o t e d b r e v i a r y H e r e f o r d , C a t h e d r a l C h a p t e r L i b r a r y P . 9. v i i , h o w e v e r , appear to be the r e m a i n s of a c o m p l e t e a n t i p h o n e r n o t a t e d i n t h i s w a y (see F r e r e 1 8 9 4 - 1 9 3 2 , Bibliotheca i , p i . 2). T h e f a m o u s M o n t p e l l i e r m a n u s c r i p t is b y f a r t h e m o s t c o m p r e h e n s i v e s o u r c e i n t h e g r o u p , c o n t a i n i n g t h e c o m p l e t e p r o p e r c h a n t s of m a s s , a r r a n g e d i n t o n a l o r d e r . I t a l s o s u r p a s s e s t h e o t h e r s o u r c e s i n t h e s o p h i s t i c a t i o n of i t s a l p h a b e t i c n o t a t i o n , c o n t a i n i n g special signs for liquescence, the oriscus, a n d the q u i l i s m a , a n d five other signs, w h i c h h a v e g a i n e d s o m e n o t o r i e t y . T h e y o c c u r w h e r e o n e w o u l d e x p e c t t o f i n d t h e l e t t e r s at semitone steps i n the scale (see T a b l e IV.6.1). S o o n after the d i s c o v e r y of t h e quarter-tones, a claim m a n u s c r i p t V i n c e n t (1854) c l a i m e d that they represented

w h i c h received c o m p r e h e n s i v e support f r o m G m e l c h (1911). F r o g e r , h o w e v e r , has s h o w e d t h e e v i d e n c e to b e i n s u b s t a n t i a b l e (1978, ' Q u a r t s ' ) . A n a l t e r n a t i v e e x p l a n a t i o n , t h a t t h e y are r e p r e s e n t l o n g e r n o t e s , c a r r i e s r a t h e r l i t t l e c o n v i c t i o n . T h e s i g n s r e m a i n mysterious. Table H. 159 at at at a (below bb) at b ate I V . 6 . 1 . Special signs at the semitone step in Montpellier, Faculte de Medecine

V
^ P 1 _J

A l t h o u g h it d o e s n o t s e e m to b e r e l a t e d to t h e l a t t e r s i g n s , a n o t h e r

notational

feature d r a w s a t t e n t i o n to the semitone steps i n c h a n t . I n a n u m b e r of e l e v e n t h - a n d t w e l f t h - c e n t u r y F r e n c h a n d E n g l i s h sources the p u n c t u m o c c u r r i n g o n the l o w e r note of t h e s e m i t o n e s t e p w a s g i v e n a s p e c i a l s h a p e , u s u a l l y r a t h e r l i k e t h e u n c i n u s o f L a o n n o t a t i o n . It is f o u n d i n t h e staffless n o t a t i o n of s o m e n o r t h F r e n c h ( m o s t l y N o r m a n ) s o u r c e s of t h e e l e v e n t h c e n t u r y , a n d i n b o o k s w i t h s t a f f - n o t a t i o n (see P l a t e ( w h e r e it w a s , s t r i c t l y s p e a k i n g , r e d u n d a n t ) i n N o r m a n a n d E n g l i s h b o o k s of t h e t w e l f t h c e n t u r y 1 0 ) . I t is also t o b e f o u n d i n e l e v e n t h - to t w e l f t h - c e n t u r y A q u i t a n i a n Musique). m a n u s c r i p t s (see C o l e t t e 1 9 9 0 ) , a n d p a s s e d t h e n c e i n t o S p a i n a n d P o r t u g a l , w h e r e it s u r v i v e d u n t i l t h e e n d of t h e M i d d l e A g e s ( C o r b i n 1 9 5 2 ,

(i i) Gu ido of

Arezzo

T h e p r e s s u r e t o a d o p t a p i t c h - s p e c i f i c n o t a t i o n f o r c h a n t - b o o k s w a s so g r e a t , i t s e e m s , t h a t n o s o o n e r w a s t h e i n k d r y o n t h e f i r s t a l p h a b e t i c a l l y n o t a t e d b o o k s , so t o s p e a k , t h a n a n o t h e r t y p e of n o t a t i o n w a s i n v e n t e d , G u i d o of A r e z z o ' s s t a f f - n o t a t i o n . A s is w e l l k n o w n , t h i s b e c a m e t h e b a s i s of t h e m u s i c a l n o t a t i o n u s e d i n W e s t e r n E u r o p e f o r c e n t u r i e s t o c o m e . G u i d o t e l l s h o w h e c a m e to i n v e n t t h e n o t a t i o n , a n d h o w h e w a s s u b s e q u e n t l y c a l l e d t o R o m e b y J o h n X I X ( 1 0 2 4 - 3 3 ) to d e m o n s t r a t e i t , i n a l e t t e r t o a

f o r m e r f e l l o w m o n k , M i c h a e l , i n t h e a b b e y of P o m p o s a ( n o r t h of R a v e n n a ) (GS t r a n s . S t r u n k 1950, S t r u n k 1950, with Guido, b e e n c o n c e i v e d as t h e f o r e w o r d to t h e a n t i p h o n e r (GS h i s i n t e n t i o n s are fairly clear. i i . 34; D M A A.Ill;

i i . 43, trans. the

121 f f . ) . T h e n o t a t i o n i t s e l f is d e s c r i b e d i n w h a t a p p e a r s to h a v e

117 f f . ) . A l t h o u g h n o m a n u s c r i p t s s u r v i v e w h i c h c a n b e l i n k e d d i r e c t l y Stave-lines were scratched onto

p a r c h m e n t w i t h a d r y s t y l u s , the F - l i n e was c o l o u r e d r e d a n d the r - l i n e y e l l o w . G u i d o ' s c h o i c e of F a n d c as t h e p r i n c i p l e p i t c h e s to b e i d e n t i f i e d is u n d e r s t a n d a b l e , for t h e s e m a r k t h e u p p e r n o t e of a s e m i t o n e s t e p . A s a n a l t e r n a t i v e w a y of d e s i g n a t i n g t h e p i t c h o f t h e l i n e s , o r i n a d d i t i o n to c o l o u r i n g t h e l i n e s , t h e l e t t e r s F a n d c c o u l d be set at t h e s t a r t of t h e s t a v e as c l e f s . G u i d o d o e s n o t s p e c i f y t h e n u m b e r of s t a v e - l i n e s : most o f t e n f o u r were e m p l o y e d , for this n u m b e r a c c o m m o d a t e s m e l o d i e s w i t h the r a n g e o f u p t o a n i n t h , s u f f i c i e n t f o r m o s t p u r p o s e s , w h i l e e x t r a n o t e s c a n be d e a l t w i t h by c h a n g i n g the clef or c o l o u r e d line. A l t h o u g h G u i d o d o e s n o t state it o u t r i g h t , it is p o s s i b l e ( a n d h a p p e n e d i n p r a c t i c e ) for a c o l o u r e d l i n e to b e d r a w n t h r o u g h a s p a c e : f o r a c h a n t w i t h h i g h t e s s i t u r a , i f t h e l i n e f o r m i d d l e C is c o l o u r e d y e l l o w , t h e n t h e r e d / a b o v e it w i l l f a l l i n a s p a c e . M a n y early sources with staff-notation use other coloursgreen is c o m m o n a n d Some it e v e n t u a l l y b e c a m e g e n e r a l practice to d r a w f o u r lines i n b l a c k ( s o m e t i m e s red) i n k a n d use c l e f s a l o n e t o d e s i g n a t e p i t c h . Practice w i t h clefs also v a r i e d . sources English d i l i g e n t l y p l a c e a l e t t e r a g a i n s t e v e r y l i n e . F a n d c are b y f a r t h e m o s t c o m m o n , a n d s o m e t i m e s h i g h g is f o u n d . M u c h r a r e r is a g a m m a - c l e f f o r t h e l o w e s t G. m a n u s c r i p t s u s e D a n d bb and e v e n fet| is u s e d as a c l e f . clefs m o r e f r e q u e n t l y t h a n their c o n t i n e n t a l n e i g h b o u r s ,

S m i t s v a n W a e s b e r g h e ( 1 9 5 1 , ' N o t a t i o n ' ) , f o l l o w i n g t h e e a r l y h i s t o r y of G u i d o n i a n n o t a t i o n i n the strict sense t h r o u g h a range of b o t h I t a l i a n a n d f o r e i g n sources, c o u l d list a l m o s t n o n e of t h e e l e v e n t h c e n t u r y . O n e of t h e e a r l i e s t is t h e O l d R o m a n g r a d u a l of 1 0 7 1 , B o d m e r C . 74 ( f a c s i m i l e e d . L u t o l f 1 9 8 7 ) . S t a f f - n o t a t i o n e v e n i n a g e n e r a l sense b e c a m e t h e n o r m o n l y i n t h e t w e l f t h c e n t u r y , at least i n F r a n c e , E n g l a n d , a n d Italy. In at least one c u r i o u s instance, the so-called ' W o l f f h e i m A n t i p h o n a l ' (now U n i v e r s i t y of C a l i f o r n i a at B e r k e l e y 7 4 8 ) , t h e staff w a s u s e d f o r a n e u m a t i c n o t a t i o n w h i c h w a s n o t p l a c e d a c c u r a t e l y u p o n i t ; i n o t h e r w o r d s , t h e s t a v e s m i g h t as w e l l never have been d r a w n i n ( W a g n e r 1926; E m e r s o n 1 9 5 8 - 6 3 ) .

(iii)

Staff-Notation

in Different

Lands

T h e s h a p e of t h e s i g n s d e p l o y e d o n t h e stave c o n t i n u e d to v a r y f r o m a r e a to a r e a , f o r t h e t r a d i t i o n a l s i g n s c o u l d s i m p l y be set o u t i n t h e n e w w a y o n t h e p a g e . O n l y i n G e r m a n l a n d s d o e s t h e a d o p t i o n of s t a f f - n o t a t i o n s e e m t o h a v e e n t a i l e d a r a d i c a l change. Many G e r m a n scribes r e m a i n e d f a i t h f u l to t h e o l d e r staffless notation c e n t u r i e s a f t e r it h a d b e e n a d o p t e d i n m o s t o t h e r c e n t r e s . T h e staves (see t h e c o n v e n i e n t l i s t i n Le Graduel romain II, fourteenth-century

g r a d u a l s of P a s s a u , S t F l o r i a n , a n d S e c k a u , f o r e x a m p l e , are s t i l l w r i t t e n w i t h o u t 158-71). G e r m a n notation

was u s u a l l y strongly s l o p i n g i n character,

and relatively few m a n u s c r i p t s show

vertical d u c t u s . B u t for staff-notation the vertical a l i g n m e n t became almost u n i v e r s a l . A s t r i k i n g e x a m p l e of t h e c h a n g e i n a p p e a r a n c e of G e r m a n n o t a t i o n s c a n be s e e n w i t h i n a s i n g l e s o u r c e , the a n t i p h o n e r f r o m P e t e r s h a u s e n n e a r K o n s t a n z , K a r l s r u h e , B a d i s c h e L a n d e s b i b l i o t h e k , L X A u g . , p r o b a b l y d e p e n d e n t o n the m o n a s t i c t r a d i t i o n of R e i c h e n a u . The m a n u s c r i p t was f r o m the b e g i n n i n g notated in staff-notation, o r i g i n a l l y f i n e l i t t l e s l o p i n g s i g n s of the t w e l f t h c e n t u r y . A t t h e e n d of t h e m a n u s c r i p t t h e O f f i c e of the D e a d w a s n o t a t e d i n a d i f f e r e n t h a n d , s t i l l fine b u t w i t h p r a c t i c a l l y v e r t i c a l d u c t u s . S o m e of t h i s s u r v i v e s , b u t i n the f o u r t e e n t h c e n t u r y m u c h w a s e r a s e d a n d r e p l a c e d b y u p r i g h t ' G o t h i c ' f o r m s . T o g e t h e r w i t h several a d d i t i o n s , these scripts p r o v i d e a f a s c i n a t i n g c r o s s - s e c t i o n of h a n d s ( s t u d i e d b y H a i n There appears t o o to h a v e b e e n a distinct rapprochement 1925). between the newer

G e r m a n n o t a t i o n a n d t h e l a t e r stages of L a o n n o t a t i o n , so t h a t i n at least s o m e areas it is p o s s i b l e to s p e a k of h y b r i d f o r m s . T h e s i g n s s h o w n i n T a b l e I V . 6 . 2 c a n a l l b e f o u n d i n v a r y i n g m i x t u r e s , a ' L a o n ' flexa s i d e b y s i d e w i t h a ' G e r m a n ' v i r g a , f o r e x a m p l e . T h e ' G e r m a n ' v i r g a , l o o k i n g s o m e w h a t l i k e a h o r s e s h o e n a i l , has g i v e n its n a m e t o t h i s p h a s e of G e r m a n n o t a t i o n as a w h o l e : ' H u f n a g e l s c h r i f t ' . I n l a t e r c e n t u r i e s it w a s c o m m o n l y w r i t t e n w i t h a b r o a d - n i b b e d p e n (as w e r e o t h e r late m e d i e v a l n o t a t i o n s ) , a n d i n t h i s f o r m is also k n o w n as ' G o t h i c ' n o t a t i o n . T a b l e I V . 6 . 2 . Late forms derived from Laon and Late L a o n single notes pes clivis porrectus scandicus climacus A ; Late G e r m a n t German flotation

Bohemian

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M a n u s c r i p t s s h o w i n g p r e d o m i n a n t l y or even c o m p l e t e l y L a o n f o r m s were w r i t t e n i n m a n y G e r m a n c e n t r e s : L e i p z i g ( P a l M u s 3, P I . 174) a n d H i l d e s h e i m ( P I . 175), for e x a m p l e . F o r r e a s o n s w h i c h are n o t yet c l e a r , L a o n n o t a t i o n w a s u s e d i n a g r o u p of s o u r c e s u s u a l l y assigned to K l o s t e r n e u b u r g (for e x a m p l e , G r a z , U n i v e r s t a t s b i b l i o t h e k 8 0 7 : P a l M u s 19, w h i c h n e v e r t h e l e s s has G e r m a n s t r o p h i c i ) . F u r t h e r east a n d n o r t h o t h e r f o r m s r e l a t e d to L a o n a n d G e r m a n n o t a t i o n s w e r e u s e d . T y p i c a l of B o h e m i a n s o u r c e s is a z i g z a g f o r m of the pes a n d s c a n d i c u s , w h i l e H u n g a r i a n s o u r c e s o f t e n h a v e a s o r t of d o u b l e p u n c t u m at the h e a d of a c l i m a c u s ( p r e s u m a b l y d e s c e n d e d f r o m a r i g h t - f a c i n g v i r g a ) . S i g n s s i m i l a r to s o m e of these c a n a c t u a l l y be s e e n i n s o u t h a n d

central perhaps 1985.)

Italian sources, be c o n s i d e r e d .

a n d t h e p o s s i b i l i t y of i n f l u e n c e f r o m t h a t q u a r t e r (See

should

the remarks on East E u r o p e a n notation i n S z e n d r e i In

M u c h w o r k r e m a i n s t o b e d o n e o n t h e r e g i o n a l v a r i e t i e s of E a s t e r n n o t a t i o n s .

p a r t i c u l a r , t h e s i t u a t i o n i n G e r m a n y , A u s t r i a , a n d S w i t z e r l a n d r e m a i n s to b e c l a r i f i e d . O n the other h a n d , H u n g a r i a n sources have been magisterially s u r v e y e d a n d classified b y S z e n d r e i (1983 a n d 1988, w i t h o v e r 130 p l a t e s ) a n d the m a i n l i n e s of i n v e s t i g a t i o n f o r t h e E a s t as a w h o l e s k e t c h e d o u t ( S z e n d r e i 1 9 8 6 ) . C e n t r e s of i n f l u e n c e n e e d to b e i d e n t i f i e d , for e x a m p l e a m o n g the religious orders, w h i c h m i g h t e x p l a i n the a d o p t i o n of d i f f e r e n t s i g n s i n d i f f e r e n t c h u r c h e s a n d the r e a s o n s f o r s u c h p h e n o m e n a as t h e ' i n v a s i o n ' of ' G e r m a n ' t e r r i t o r y b y ' L a o n ' f o r m s . I n the eleventh century i n s o u t h F r a n c e and south Italy m a n y m a n u s c r i p t s w r i t t e n w i t h e x a c t l y h e i g h t e d n o t a t i o n yet w i t h o u t a d o p t i n g the G u i d o n i a n A q u i t a n i a n n o t a t i o n , c o n s i s t i n g v e r y l a r g e l y of s e p a r a t e p o i n t s , w a s e a s y to set out i n s u c h a w a y that the intervals b e t w e e n notes were were staff.

comparatively accurately

i n d i c a t e d . It w a s c o m m o n f o r s c r i b e s to r u l e pages as f o r a text m a n u s c r i p t , t h e n use e a c h a l t e r n a t e l i n e as a g u i d e f o r t h e m u s i c a l n o t a t i o n . C l e f s w e r e n o t u s e d , so t h a t it was n e c e s s a r y to h a v e notation of a n i d e a of the the eleventh start of the century piece i n o r d e r t o get going. but it Beneventan followed a similar course;

d e v e l o p e d a b o l d , a n g u l a r s t y l e , u s i n g a b r o a d - n i b b e d p e n , w h i c h g i v e s it a q u i t e d i s t i n c t i v e s u r f a c e a p p e a r a n c e , h o w e v e r s i m i l a r to o t h e r I t a l i a n s t y l e s it m a y b e at r o o t (see P I . 12, B e n e v e n t a n , a n d P I . 13, There signs to the stave. Roman). for for w a s i n m o s t cases n o g r e a t d i f f i c u l t y i n a d a p t i n g t r a d i t i o n a l ' u n h e i g h t e d ' E v e n before staff-notation was i n t r o d u c e d i n n o r t h F r a n c e ,

e x a m p l e , t h e v i r g a a n d pes w e r e c o m m o n l y w r i t t e n w i t h a h e a d at t h e e n d of t h e u p s t r o k e , a n d t h e flexa o f t e n h a d a l i t t l e foot at the e n d of the d o w n - s t r o k e (see, the e x p e n s e o f the strokes in between, r e d u c e d to m e r e hair-lines. In e x a m p l e , P I . 9 ) . G r a d u a l l y t h e s e h e a d s a n d feet b e c a m e l a r g e r a n d m o r e p r o m i n e n t , at Parisian squares m a n u s c r i p t s of the t h i r t e e n t h c e n t u r y , n e a r l y a l l the s i g n s are c o m p o s e d of

j o i n e d b y t h e s e t h i n l i n e s f o r m s k n o w n as l i g a t u r e s i n t h e l i t e r a t u r e o n P a r i s i a n p o l y p h o n y of the s a m e p e r i o d , w h i c h n a t u r a l l y t o o k the l o c a l n o t a t i o n a l s h a p e s as its s t a r t i n g - p o i n t . T h e e x c e p t i o n s are the p o r r e c t u s , w i t h a d e s c e n d i n g d i a g o n a l as i t s middle element, a n d the climacus, with rhomboid puncta. Square or quadratic (see were The n o t a t i o n , as it is c o m m o n l y c a l l e d , n a t u r a l l y e x i s t e d i n m a n y r e g i o n a l v a r i e t i e s P l a t e s 1 4 - 1 5 , a n d S u n o l 1935, cultural pre-eminence enjoyed by Paris i n the thirteenth century. Books 1977).

c h . 16). T h a t it b e c a m e so w i d e s p r e a d is d u e to t h e

p r o d u c e d t h e r e f o r c h u r c h e s i n a w i d e area a r o u n d P a r i s (see B r a n n e r p a t t e r n f o r o t h e r s far a n d w i d e , e v e n i n E a s t e r n E u r o p e .

m a s t e r e x e m p l a r s of the D o m i n i c a n l i t u r g i c a l b o o k s w e r e p r o d u c e d i n P a r i s a n d set a E v e r y w h e r e i n E u r o p e i n the later M i d d l e A g e s there was a m o v e t o w a r d s larger a n d t h i c k e r n o t a t i o n a l f o r m s , a g e n e r a l ' G o t h i c i z a t i o n ' , it has b e e n r e m a r k e d . A n o t h e r g e n e r a l t r e n d w a s t h e r e s o l u t i o n of a l l s h a p e s i n t o v e r t i c a l , h o r i z o n t a l , o r d i a g o n a l ,

c u r v e s b e i n g e s c h e w e d . B y t h e e n d of the p e r i o d , n e a r l y a l l c e n t r e s w e r e u s i n g e i t h e r a f o r m of s q u a r e n o t a t i o n o r o n e of the v a r i e t i e s of E a s t e r n n o t a t i o n . O n e o f t h e evolution (PI. 16). from dainty early medieval signs to impressive squares and last c e n t r e s t o r e t a i n its l o c a l f o r m s w a s M i l a n , w h o s e n o t a t i o n h a d u n d e r g o n e i t s o w n lozenges H e r e as e l s e w h e r e , t h e a d o p t i o n of a l a r g e f o r m a t w a s n e c e s s a r y w h e n it documented.) and they and

b e c a m e t h e p r a c t i c e f o r c h o i r s to s i n g f r o m t h e w r i t t e n p a g e i n s t e a d of f r o m m e m o r y . ( T h e g r o w t h of t h i s p r a c t i c e has yet to b e c o m p r e h e n s i v e l y d i a s t e m a t i c ( f r o m t h e G r e e k diastema indicate clearly the intervals between N o t a t i o n s h a v e c o m m o n l y b e e n d i v i d e d i n t o a d i a s t e m a t i c (or n o n - d i a s t e m a t i c ) i n t e r v a l a c c o r d i n g to w h e t h e r o r n o t notes. Similar terms are 'unheighted'

' h e i g h t e d ' (of s i g n s ) . ' I n t e r v a l l i c ' n o t a t i o n is a n o t h e r . W h e r e s o m e i n t e r v a l s r e m a i n d o u b t f u l t h e d i a s t e m a t y is s a i d t o be ' i n c o m p l e t e ' , o r e v e n ( w i t h p e j o r a t i v e overtones b e s t a v o i d e d ) ' i m p e r f e c t ' . I n t h e o r y n o t h i n g of t h e f l e x i b i l i t y of t h e o l d e r n o t a t i o n a l p h a s e n e e d h a v e b e e n l o s t w h e n the p i t c h - s p e c i f i c m o d e w a s a d o p t e d . T h i s is c l e a r l y b o r n e o u t b y t h e s t a f f - n o t a t i o n of r e l a t i v e l y late G e r m a n s o u r c e s , w h e r e s u c h f e a t u r e s as t h e q u i l i s m a a n d s t r o p h i c i c a n be seen ( P a l M u s 3, 1 3 2 - 7 ) . T h e g r a d u a l a d o p t i o n of staff-notation manuscripts, occurred, the h o w e v e r , at a t i m e w h e n m a n y n i c e t i e s of n o t a t i o n w e r e d e c l i n i n g . T h e s a l i c u s is rare o u t s i d e t h e hardly distinguished notationally outside (and p r e s u m a b l y of p e r f o r m a n c e ) earliest Eastern

s t r o p h i c i are

sources, the q u i l i s m a h a r d l y s u r v i v e d the eleventh c e n t u r y i n W e s t e r n

sources.

IV.7. T H E O R I S T S ' N O T A T I O N S Crocker 1979.

A b r i e f s u r v e y is g i v e n h e r e of n o t a t i o n a l s y s t e m s f o u n d o n l y i n w r i t i n g s o n m u s i c t h e o r y of the e a r l y M i d d l e A g e s . T h e y are of as m u c h r e l e v a n c e to c h a n t t h e o r y as t o t h e n o t a t i o n of p l a i n c h a n t f o r s e r v i c e - b o o k s . T h e o r i s t s ' n o t a t i o n s a n d n o t a t i o n s practical purposes were naturally related; but theorists felt the n e e d t o for illustrate

t h e o r e t i c a l c o n c e p t s w i t h u n a m b i g u o u s p i t c h s y m b o l s e a r l i e r t h a n s i n g i n g - m a s t e r s felt t h e n e e d to g i v e t h e i r p u p i l s p i t c h - s p e c i f i c c h a n t - b o o k s to s t u d y . T h e earliest s y s t e m s , f o u n d i n the n i n t h c e n t u r y , h a v e a l r e a d y b e e n mentioned. who 1957; H u c b a l d ' s n o t a t i o n , w h i c h s e e m s to h a v e h a d n o o t h e r u s e r s , uses t h e s i g n s s h o w n i n E x . I V . 7 . 1 . T h e y w e r e b o r r o w e d i n the first i n s t a n c e f r o m B o e t h i u s ( i v . 3 - 4 ) , A n d e r s o n , ' A l y p i u s ' , NG\ Babb 1978, 9, 3 8 ) . J a n 1895, 3 6 9 ; I s o b e l H e n d e r s o n 1957, 3 5 8 ; P o t i r o n w a s r e p r o d u c i n g t h e n o t a t i o n of the G r e e k w r i t e r A l y p i u s ( 3 r d - 4 t h c. A D ; see W a r r e n H u c b a l d a p p l i e d these s i g n s to t h e n o t e s of t h e G r e e k Greater

P e r f e c t S y s t e m . F o r t h e m o s t p a r t , he, a n d m a n y w r i t e r s s u b s e q u e n t l y , r e f e r r e d to t h e n o t e s of the G r e e k s y s t e m b y t h e i r G r e e k n a m e s , also g i v e n i n E x . I V . 7 . 1 . I n p r o s e d i s c u s s i o n s this r e m a i n e d the preferred m e t h o d for w e l l over a c e n t u r y . T h e often little r o o m for the c u m b e r s o m e Greek names. It is i m p o r t a n t to r e a l i z e real that a d v a n t a g e of p i t c h - s y m b o l s w a s i n d i a g r a m s a n d m u s i c a l e x a m p l e s , w h e r e t h e r e w a s

7. Theorists E x . I V . 7 . 1 . H u c b a l d s letter-notation
hb ht

'

Notations

P
I 'n 'Y
tetrachords:

MUE
hb d m ht s

C I M P C FB

r h

U E 0 I
aa nete hyperboleon paranete hyperboleon trite hyperboleon nete diezeugmenon paranete diezeugmenon or nete synemmenon trite diezeugmenon or paranete synemmenon paramese trite synemmenon mese lichanos meson parhypate meson hypate meson lichanos hypaton parhypate hypaton hypate hypaton proslambanomenos

hyperboleon diezeugmenon meson hypaton synemmenon

Greek pitch names:

b bb a G F E D C B A

H u c b a l d d i d n o t use t h e A - G n o m e n c l a t u r e . I n f a c t , t h e m o d e r n e q u i v a l e n t p i t c h e s s h o w n i n E x . I V . 7 . 1 c o u l d h a v e s t a r t e d w i t h a n y n o t e , as l o n g as t h e s e q u e n c e o f t o n e s and semitones was preserved. T h e s a m e is t r u e f o r t h e d a s i a n n o t a t i o n e m p l o y e d i n t h e ' E n c h i r i a d i s ' g r o u p of t r e a t i s e s : Musica psalmis The modulandis, enchiriadis, Scolica enchiriadis, Commemoratio brevis de tonis et first then a n d a few other brief texts (all e d i t e d b y H a n s S c h m i d 1 9 8 1 ) . enchiriadis ( u s u a l l y d a t e d to t h e late n i n t h c e n t u r y ) to t h e i r i n t e r v a l l i c s t r u c t u r e ,

a u t h o r of Musica

d e s c r i b e s a series of t e t r a c h o r d s w i t h r e f e r e n c e

d e s i g n a t e s t h e i n d i v i d u a l p i t c h e s w i t h t h e d a s i a s i g n s . If w e t a k e l o w G as t h e m o d e r n e q u i v a l e n t of t h e l o w e s t n o t e , t h e scale s h o w n i n E x . I V . 7 . 2 e m e r g e s . N e a r l y a l l t h e s i g n s are d e r i v e d f r o m t h e G r e e k a s p i r a n t s i g n , t h e daseia is g i v e n e x t r a c u r l s a n d s t r o k e s ( l i k e s a n d c) front. E x . I V . 7 . 2 . D a s i a signs i n the Enchiriadis group of treatises tetrachords: g graves finales supenores excellentes residui
y

(modern 'h' sound), which

a n d t u r n e d u p s i d e - d o w n a n d b a c k to

T h e p r e s e n c e of l o w Bb,

h i g h /#, a n d ct\

a n d t h e a b s e n c e of m i d d l e bb,

remain

s o m e t h i n g of a p u z z l e . S i n c e f e w of the m u s i c a l e x a m p l e s t o u c h o n t h e e x t r e m e s of t h e r a n g e , t h e o u t e r c h r o m a t i c notes are n o t u s u a l l y a p r o b l e m i n t h e t r e a t i s e s t h e m s e l v e s . N o t e v e r y n o t e h e r e has a c o r r e s p o n d i n g o c t a v e , h o w e v e r , so that w h e n t h e a u t h o r d i s c u s s e s o c t a v e d o u b l i n g s he s i m p l y o m i t s t h e d a s i a n s i g n s if n e c e s s a r y ( S c h m i d , 2 7 , 3 2 , e t c . ) . P h i l l i p s ( 1 9 8 4 ) has a r g u e d that t h e n o t e s w e r e i n t e n d e d t o c r e a t e a m o r e flexible system than the G r e e k d i a t o n i c series for the r e c o r d i n g of chants with c h r o m a t i c notes. T h e v a r i o u s d e m o n s t r a t i o n s a n d d i a g r a m s i n B o e t h i u s ' treatise e m p l o y a n u m b e r of a l p h a b e t i c s e r i e s . F o r e x a m p l e , at o n e p o i n t B o e t h i u s g i v e s a d i a g r a m i n c l u d i n g a l l t h e n o t e s of t h e G r e a t e r a n d L e s s e r P e r f e c t S y s t e m , n o t o n l y f o r t h e d i a t o n i c g e n u s b u t i n c l u d i n g t h e c h r o m a t i c a n d e n h a r m o n i c g e n e r a as w e l l . T o d e n o t e a l l t h e s e p i t c h e s , a series r u n n i n g f r o m A to Z , A A to L L w a s r e q u i r e d . I f t h e n o t e s of t h e d i a t o n i c s c a l e are e x t r a c t e d f r o m t h e c o m p l e t e series, the f o l l o w i n g s c a l e is r e p r e s e n t e d : E x . I V . 7 . 3 . Boethius' pitch-letters

Y CC

00

FF

KK LL

T h i s series is a c t u a l l y u s e d i n the late n i n t h c e n t u r y t r e a t i s e Alia

musica.

T h e A - G a l p h a b e t i c series w i t h w h i c h w e are f a m i l i a r c a n also b e f o u n d i n B o e t h i u s ( i v . 14), a c t u a l l y e x t e n d e d b e y o n d G to m a k e a s e c o n d o c t a v e H - 0 ( o m i t t i n g J ) . O n a n o t h e r o c c a s i o n B o e t h i u s p o s i t s a c o m p l e t e t w o - o c t a v e series A - P ( i v . 17), b u t t h e a r g u m e n t he p r o p o u n d s d o e s n o t r e q u i r e t h e s p e c i f i c a t i o n of i n d i v i d u a l p i t c h e s a n d i n t e r v a l s . T h e earliest m e d i e v a l a d a p t a t i o n of t h i s a p p e a r s to be t h a t i n P a r t n Scolica enchiriadis. ( T h e T - d ' series i n Musica fleeting enchiriadis, of S c h m i d , 3 0 ; G S i . 162, is A-HP

p e c u l i a r to P a r i s , B i b l i o t h e q u e N a t i o n a l e , lat. 7 2 0 2 , o f t h e t e n t h to e l e v e n t h c e n t u r y . ) H e r e t h e r e is a n u n e x p e c t e d a n d (Schmid, 90-1; E, a-g, e, a n d e'. a', reference to a t w o - o c t a v e r a n g e G S i . 1 8 4 - 5 ) . T h e notes i n b e t w e e n are n o t s p e c i f i e d h e r e , b u t t h e

e x a m p l e f o r w h i c h t h e y are u s e d d e m a n d s t h a t A , H , a n d P a l l c o r r e s p o n d to m o d e r n T h e n i n P a r t i n of the s a m e treatise a n A - P scale is set o u t c o m p l e t e c-b', c'; it is i n fact IV.6). a' finally appears in an apparently written in south t h e series known from the ( S c h m i d , 1 4 7 ; G S i . 2 0 9 ) , b u t o n c e a g a i n it does n o t c o r r e s p o n d to t h e m o d e r n A - G , b u t t o m o d e r n C-b, W i n c h e s t e r notation for some sequences, described above, a n d connected i n some w a y w i t h o r g a n s a n d o t h e r i n s t r u m e n t s (see T h e series A - P a p p l i e d to w h a t w e w o u l d c a l l A - G , a-g, a n o n y m o u s treatise ( G S i . 3 3 8 - 3 4 2 , A n o n y m o u s I I ) ,

G e r m a n y a b o u t the e n d of t h e m i l l e n i u m . W h e t h e r t h e r e is a n y c o n n e c t i o n w i t h t h e p r a c t i c a l use o f t h i s series b y W i l l i a m of D i j o n (see a g a i n I V . 6 ) is u n k n o w n . A n o t h e r v a r i a n t of t h e series is to be f o u n d i n G e r b e r t ' s A n o n y m o u s I ( G S i . 3 3 0 - 8 ) .

T h e r e p e a t i n g series A-G, de musica, acceptance, Dialogus,

a-g,

a n d so o n is first f o u n d i n the a n o n y m o u s Italy i n the late tenth century. It achieved

Dialogus rapid

written in north

b e i n g u s e d also b y G u i d o of A r e z z o . T h e l o w e s t G w a s g i v e n t h e G r e e k F o r the t h i r d o c t a v e d o u b l e s m a l l l e t t e r s w e r e u s e d , u p t o a i n t h e IV.7.4). and G u i d o of A r e z z o

M

l e t t e r g a m m a (r).

u p to e i n G u i d o ' s w r i t i n g s ( E x .

E x . I V . 7 . 4 . Pitch-letters i n the Dialogus

de musica

2Z

i ( 5

cl

e )

A l t h o u g h G u i d o ' s writings had become well k n o w n in south G e r m a n y by his time, Hermannus Contractus (1013-54), monk of Reichenau, invented one further n o t a t i o n a l s y s t e m , w h i c h d i d not, h o w e v e r , achieve any w i d e r use. T h i s w a s also a l e t t e r - n o t a t i o n , b u t specified intervals rather than pitches. A dot u n d e r n e a t h the letter i n d i c a t e d d o w n w a r d m o t i o n . E x . I V . 7 . 5 lists t h e letters a n d t r a n s c r i b e s t h e p a r t of H e r m a n n u s ' t r e a t i s e w h e r e t h e y are e x p l a i n e d . ( F o r a f a c s i m i l e , see S t a b l e i n 223, reproduced.) B y z a n t i n e n o t a t i o n is also a n i n t e r v a l n o t a t i o n , b u t t h e r e is n o c o n n e c t i o n b e t w e e n Hermannus and Byzantine music. 1975, w h e r e a v a r i a n t of t h e s y s t e m i n a n o t h e r s o u t h G e r m a n t h e o r y t r e a t i s e is a l s o

IV.8.

P R I N T E D

C H A N T - B O O K S 1960.

R i e m a n n 1896; M o l i t o r 1 9 0 1 - 2 (Italian books), 1904 ( G e r m a n ) ; T a c k

C h a n t first a p p e a r e d i n p r i n t e d b o o k s i n s e v e r a l f o r m s . T h e c r e a t i o n of m u s i c a l t y p e ( o r a n y o t h e r m e a n s of p r i n t i n g m u s i c ) w a s v e r y t i m e - c o n s u m i n g . M o v a b l e t y p e c o u l d be p r e p a r e d e i t h e r w i t h s t a v e - l i n e s f o r e a c h c h a r a c t e r , o r p r i n t e d i n a s e c o n d r u n o n to staves already p r e p a r e d , b o t h c u m b e r s o m e p r o c e d u r e s . N o t s u r p r i s i n g l y , m a n y early p r i n t e d l i t u r g i c a l b o o k s s i m p l y left s p a c e f o r staves a n d m u s i c to b e w r i t t e n i n l a t e r b y h a n d . O t h e r s h a d p r i n t e d staves b u t n o n o t e s . S u c h p a r t i a l l y h a n d w r i t t e n b o o k s c a n be f o u n d as late as t h e e i g h t e e n t h c e n t u r y . T h e earliest use of m o v a b l e m u s i c a l t y p e a p p e a r s to h a v e b e e n f o r a g r a d u a l p r i n t e d p r o b a b l y i n C o n s t a n c e i n 1473. T h e d a t i n g d e p e n d s u p o n t h e fact t h a t t h e s a m e t y p e w a s u s e d to p r i n t t h e text of a b r e v i a r y f r o m C o n s t a n c e , a n d o n e c o p y of t h i s e x i s t s w i t h r u b r i c s e n t e r e d i n 1 4 7 3 . (See A . H . K i n g , 1968, w i t h t w o p l a t e s f r o m t h e o n l y c o m p l e t e e x e m p l a r , i n t h e B r i t i s h L i b r a r y ; also M o l i t o r 1904, p i . I I , f r o m f r a g m e n t s i n T u b i n g e n , U n i v e r s i t a t s b i b l i o t h e k . ) T h e earliest d a t a b l e b o o k w i t h p r i n t e d m u s i c is the Missale of 1476 p r i n t e d i n R o m e b y U l r i c h H a n of I n g o l s t a d t ( M o l i t o r 1904, p i . I ;

396 Ex. IV.7.5.

TV.

Notation

H e r m a n n u s C o n t r a c t u s ' interval notation ( M u n i c h , Bayerische Staatsbibl. e l m

r

14965b, f o . 22 )
eS T unison semitone tone -f minor 3rd major 3rd d A perfect perfect 4th 5th A minor 6th major 6th

uoces u - n i - s o - n a s equat.
x

s e - m i - t o - n i - i dis-tan-ti-am

signat.

i
P

%
T"
T

x x x % \ x x x
to-ni d i f - f e r e n - t i - a m tonat.

k -i

e r r $ y x $ l i
se-mi-di-tonum sta-tu-it.
J U T J J T T S I J T

S cum T
s
T

^
___

d u p l i - c a - t a di - tonum t i - t u l a t .

d
i ftz

d i - a - t e s s e r o n symphoniam de-notat.

A
s

A s i A e ^ S T s r x a s
* 1 -* !

A J e 5
* r

A
i

* w

f T

Aelta
d

d i - a - p e n t e consonanti-am discri-minat.

AeltacumS

b i - n a cum tritono
T S

T $ x

i . Jx^

| T

x e

limmata docet.

^el-tacumT

quaternos cum limmate tonos

maximum u i d e - l i - c e t .

in can-ti-lenis nostris ptongorum interuallum determinat.

T S T T T T S T T T

Si he no-te cum punctis

T *

e' A

< j " f J x ' ^ ^ T ^ T

remissas

si-ne punctis in-tensas

uocum d i f f e r e n - t i - a s discernunt pretax-a-tas.

A.

H . K i n g , p i . I I I ) . W h e r e a s the 'Constance' g r a d u a l has G e r m a n notation, the I n H a n ' s b o o k , as i n m a n y o t h e r s o f t h e fifteenth c e n t u r y , r e l a t i v e l y l i t t l e m u s i c w a s

R o m e m i s s a l uses s q u a r e f o r m s . I n i t i a l s i n b o t h w e r e e n t e r e d b y h a n d . r e q u i r e d , f o r o n l y t h e p r i e s t ' s c h a n t s are n o t a t e d . F o r s u c h s h o r t i t e m s w o o d b l o c k s o r even metal ones m i g h t have been used, b u t i n l i t u r g i c a l books m o v a b l e type was p r e f e r r e d . T h e e a r l i e s t l i t u r g i c a l m u s i c - b o o k p r i n t e d f r o m w o o d b l o c k a p p e a r s to b e t h e Obsequiale 1904, p r i n t e d i n 1487 f o r t h e A u g s b u r g d i o c e s e b y E r h a r d R a t d o l t ( M o l i t o r pi. VII).

T h e t w o b o o k s j u s t m e n t i o n e d are t h e o l d e s t c o n t a i n i n g p r i n t e d m u s i c of a n y s o r t . B y t h e e n d of t h e c e n t u r y o v e r 2 5 0 l i t u r g i c a l b o o k s w i t h m u s i c h a d a p p e a r e d . ( M o l i t o r gives short accounts of m a n y p r i n t e r s i n Italy a n d G e r m a n y . )

The

notational

forms

were

for

the

most

part

the

same

as

in

contemporary

m a n u s c r i p t b o o k s of t h e c o r r e s p o n d i n g l o c a l i t y . W h i l e t h e r e is n o t r a c e of t h e q u i l i s m a i n G e r m a n p r i n t s , s t r o p h i c i c a n s t i l l be f o u n d . B o t h h a d d i s a p p e a r e d f r o m s q u a r e n o t a t i o n before the fifteenth c e n t u r y . G e r m a n printers cleverly used the s t r o p h i c u s for liquescent notes as well, simply adding a strophicus after the principal sign. L i q u e s c e n t n o t e s d o n o t a p p e a r i n p r i n t e d s q u a r e n o t a t i o n ; t h e y h a d i n a n y case p r a c t i c a l l y d i s a p p e a r e d f r o m most m a n u s c r i p t b o o k s u s i n g square n o t a t i o n . O n the other h a n d , n u m e r o u s m e n s u r a l r h y t h m i c s i g n s w e r e e m p l o y e d as t h e which occasion d e m a n d e d : this development served reformed chant, r h y t h m i c notes. T h e basic d i s t i n c t i o n b e t w e e n m u s i c - t y p e u s i n g square f o r m s a n d that u s i n g G o t h i c o r G e r m a n f o r m s h a s s u r v i v e d u n t i l t h e p r e s e n t c e n t u r y , b u t t h e t e n d e n c y to f o l l o w t h e e x a m p l e o f R o m e , w h e r e s q u a r e n o t a t i o n w a s t h e r u l e , has l e d to t h e g e n e r a l d i s a p p e a r a n c e o f G o t h i c n o t a t i o n . B o t h f o r m s h a v e b e e n s u s c e p t i b l e to w i d e l o c a l variety. necessary For example, several early p r i n t e r s of s q u a r e notation maintained the distinction between virga, p u n c t u m , and r h o m b , and some created the diagonal shape f o r t h e p o r r e c t u s . B u t t h e v i r g a is c o m p a r a t i v e l y r a r e i n the M e d i c e a n e d i t i o n of t h e e a r l y s e v e n t e e n t h c e n t u r y a n d its i m i t a t o r s , a n d t h e d i a g o n a l is a b s e n t . T h e v i r g a was t h e n entirely e l i m i n a t e d i n m a n y b o o k s ( p r i n c i p a l l y F r e n c h ones) f r o m the later seventeenth c e n t u r y o n w a r d s . Signs c o n t a i n i n g m o r e t h a n one note n e x t to o n e a n o t h e r . ( S e e T a c k 1960, 4 9 - 5 7 f o r s e v e r a l f a c s i m i l e s . ) A s p a r t of t h e r e s t o r a t i o n of t h e r e p e r t o r y to s o m e t h i n g l i k e a m e d i e v a l s t a t e , P o t h i e r a n d t h e firm of D e s c l e e i n T o u r n a i c r e a t e d a n e w f o n t w h i c h w a s c a p a b l e of r e p r o d u c i n g t h e b a s i c s h a p e s of f o u r t e e n t h - to quilisma. T h e melodies first fifteenth-century s q u a r e n o t a t i o n , as it Les 1883; was for was k n o w n f r o m n o r t h F r e n c h chant b o o k s . T o these w e r e a d d e d a n e w s i g n for the p u b l i c a t i o n w i t h this new m u s i c - t y p e was Pothier's book o f 1880, t h e first c h a n t - b o o k P o t h i e r ' s Liber monasticum gradualis of a n d r e v i s e d V a t i c a n b o o k s t h e n u s e d t h e s a m e f o n t . It p u n c t u m (that i s , gregoriennes were t h e n m a d e u p s i m p l y b y p l a c i n g t h e r e q u i r e d n u m b e r of s q u a r e and/or l o z e n g e s h a p e s utilized proportional

the e a r l i e s t S o l e s m e s

e x p a n d e d f o r t h e Antiphonale

of 1934 b y t h e a d d i t i o n o f s i g n s f o r t h e

oriscus, apostropha (distropha, tristropha), and liquescent c l i v i s ) . T h e n e w Antiphonale Romanum

l i q u e s c e n c e b y a u g m e n t a t i o n of t h e p u n c t u m , r a t h e r t h a n d i m i n u t i o n of t h e pes o r has i n t r o d u c e d a n e w b a t c h of s i g n s , d e s i g n e d see t h e t a b l e o n p . x i i of t o r e f l e c t e v e n m o r e c l o s e l y t h e d e t a i l of e a r l y n o t a t i o n s ( p r i n c i p a l l y t h a t of H a r t k e r ' s a n t i p h o n e r , S t G a l l , S t i f t s b i b l i o t h e k 3 9 0 - 3 9 1 , P a l M u s 11/1; the Liber hymnarius of 1 9 8 3 ) . Romanum of 1 8 9 8 , the already partially differences

E x . I V . 8 . 1 g i v e s t h e s a m e passage f r o m a f o u r t e e n t h - c e n t u r y m a n u s c r i p t a n d t h r e e m o d e r n e d i t i o n s : t h e R a t i s b o n Graduale r e s t o r e d Graduel romain p r i n t e d i n 1872 i n M a r s e i l l e s u n d e r t h e a e g i s of t h e D i g n e Romanum of 1 9 0 8 . T h e

C o m m i s s i o n , a n d t h e r e s t o r e d V a t i c a n Graduale i n the D e s c l e e f o n t .

b e t w e e n t h e n o t e s are of c o u r s e s t r i k i n g , b u t also n o t a b l e is t h e g r e a t e r v a r i e t y of s i g n s

E x . I V . 8 . 1 . C o m m u n i o n Pascha nostmm f r o m Graduale ( R o m e , 1898), Graduel romain (Marseilles, 1872), Graduale ( R o m e 1908), and R o u e n , B i b l . M u n . 250 ( J u m i e g e s , 14th c.)
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IV.9. (i) (ii)

M O D E R N

T R A N S C R I P T I O N

T h e Liturgical Context Transcription

(iii) T r a n s c r i p t i o n f r o m Staffless N o t a t i o n s F r o m t h e f o r e g o i n g c h a p t e r s it w i l l h a v e b e c o m e c l e a r t h a t c h a n t n o t a t i o n w a s f r o m the s t a r t q u i t e d i f f e r e n t i n c h a r a c t e r f r o m m o d e r n n o t a t i o n . T h e a b s e n c e of p i t c h i n t h e e a r l i e s t s o u r c e s p r e s e n t s s p e c i a l p r o b l e m s of t r a n s c r i p t i o n , f o r to a r r i v e at pitch-specific interpretation one must have recourse to another manuscript m a n u s c r i p t s ) , o f t e n c o n s i d e r a b l y l a t e r i n date t h a n o n e ' s m a i n s o u r c e . Y e t o n e c o p y of its n o t a t i o n a l Even the later performance practice signs. of c h a n t we n o t a t i o n c o n t a i n l i t t l e of t h e expect from a information score, about as that normally musical such any (or must

p r e s e r v e as m u c h as p o s s i b l e of t h e o r i g i n a l , p o s s i b l y to t h e e x t e n t of m a k i n g a l i t e r a l forms

i n d i c a t i o n s of t e m p o

and dynamic. They

share this c o n d i t i o n w i t h p r a c t i c a l l y a l l

m e d i e v a l m u s i c a n d a g o o d d e a l of later m u s i c as w e l l . M u s i c s u n g a l l d a y a n d e v e r y d a y c o u l d h a r d l y i n c l u d e e x t r a v a g a n t p e r f o r m a n c e p r a c t i c e s , f o r a c c o r d i n g t o its v e r y nature chant was sung in a traditional way, which needed no specification. C u s t o m a r i e s a n d o r d i n a l s t h e r e f o r e c o n t a i n p l e n t y of i n f o r m a t i o n a b o u t w h o s h a l l s i n g w h a t c h a n t s , o n w h a t o c c a s i o n , a n d w h e r e i n the c h u r c h . B u t n i c e t i e s of p e r f o r m i n g s t y l e w e r e n o t c o m m i t t e d to w r i t i n g . If s u c h a s p e c t s of p e r f o r m a n c e as r h y t h m , a n d e v e n p i t c h , are left o u t of a c c o u n t i n the n o t a t i o n , it is o n l y to b e e x p e c t e d t h a t o t h e r f e a t u r e s s h o u l d also b e l a c k i n g .

It has t o b e a d m i t t e d , t h e r e f o r e , styles of m e d i e v a l c h a n t . used In techniquesfirst

that we k n o w very little a b o u t the the advent of at the 1904 Gregorian Congress

performing in Rome

fact it is o n l y s i n c e

sound-recording performance the both But

for plainchant

(Discant Recordings D I S This

1 - 2 ) t h a t w e c a n t r a c e the h i s t o r y of c h a n t w i t h t h e n e w t y p e s of c h a n t figure, a c c o u n t s of o u t s i d e r s (see

i n s o m e of its m o s t e s s e n t i a l a s p e c t s : r h y t h m , d y n a m i c , v o i c e p r o d u c t i o n , a n d so o n . is n o t the case, of c o u r s e , w h i c h arose i n below, X . 6 ) . i n the s e v e n t e e n t h c e n t u r y a n d l a t e r . O n F r e n c h chant p r a c t i c a l m a n u a l s a n d the e y e w i t n e s s The m e t h o d of c h a n t p e r f o r m a n c e for e x a m p l e , we have

t h e r e is n o u n b r o k e n l i n e of t r a d i t i o n b a c k to t h e M i d d l e A g e s . is c l e a r l y of g r e a t i m p o r t a n c e church Music t o d a y . P l a i n c h a n t has b e e n s i n g l e d o u t b y s e v e r a l s t a t e m e n t s f r o m t h e H o l y S e e i n t e r m s s u c h as 'the c h i e f a n d s p e c i a l s a c r e d c h a n t of t h e R o m a n C h u r c h ' (Sacred and Liturgy, 1 6 ) , a n d c h u r c h m u s i c i a n s have felt a special d u t y to s i n g the ' r i g h t '

n o t e s i n t h e ' r i g h t ' w a y . T h e m u s i c o l o g i s t has t h e l u x u r y of n o t h a v i n g to d e c i d e o n w h a t is ' r i g h t ' , i n d e e d c a n n o t e v e n see the p r o b l e m i n s u c h t e r m s . T h i s b o o k s t r e s s e s r a t h e r t h e v a r i e t y w h i c h is to b e f o u n d i n m e d i e v a l ( a n d l a t e r ) c h a n t - b o o k s . m o d e r n u s e , t h a t is to select b u t o n e t r a d i t i o n o u t of a m u l t i t u d e . T h i s b o o k is n o t a m a n u a l of m o d e r n p l a i n c h a n t p e r f o r m a n c e , f o r w h i c h o n e m u s t l o o k to s u c h b o o k s as t h o s e b y A g u s t o n i a n d G o s c h l ( 1 9 8 7 ) , o r at least t a k e n o t e of t h e d i r e c t i o n s p r e f a c i n g the Solesmes/Vatican e d i t i o n s . E v e n to s k e t c h a h i s t o r i c a l s u r v e y of w h a t is k n o w n a b o u t c h a n t p e r f o r m a n c e i n p a s t c e n t u r i e s w o u l d n e e d a b o o k of its o w n . ( F o r s o m e r e c e n t c o n t r i b u t i o n s , see B e r r y 1 9 6 5 - 6 ; D y e r 1 9 7 8 ; Instead, a brief consideration performance practice and transcription. B r u n n e r 1982.) to is g i v e n to t h r e e p o i n t s of p a r t i c u l a r r e l e v a n c e If one s e e k s to r e c r e a t e a p a r t i c u l a r m e l o d i c o r r h y t h m i c t r a d i t i o n (say t h a t of S t G a l l ) f o r

(i)

The Liturgical

Context

A n y c h a n t r e c o r d e d i n a n y s o u r c e is a n e l e m e n t i n t h e w o r s h i p of a p a r t i c u l a r c h u r c h . T h u s t h e i n t r o i t Puer natus est nobis i n the m a n u s c r i p t P a r i s , B i b l i o t h e q u e N a t i o n a l e , l a t . 9 0 4 has t o be u n d e r s t o o d as p a r t of the l i t u r g y f o r H i g h M a s s o n C h r i s t m a s D a y i n R o u e n cathedral i n the t h i r t e e n t h c e n t u r y . W e c a n , if w e l i k e , s i m p l y r e g a r d the be v e r s i o n i n t h a t s o u r c e as t y p i c a l f o r the M i d d l e A g e s as a w h o l e , b u t it c a n n o t

assumed a p r i o r i that all other medieval m a n u s c r i p t s t r a n s m i t the m e l o d y like P a r i s 9 0 4 . W e m i g h t also a s s u m e t h a t t h e i n t r o i t w a s p e r f o r m e d i n m o r e o r less t h e s a m e w a y i n m o s t c h u r c h e s t h r o u g h o u t the y e a r . B u t e x p e r i e n c e these m a y n o t be t h e s a m e at R o u e n as at o t h e r c h u r c h e s . for, say, tenth-century St Gall. F o r further s h o w s that one s h o u l d S i n c e P a r i s 904 has a any e x p e c t s p e c i a l o r d i n a n c e s to a p p l y at the m o s t i m p o r t a n t m a s s of C h r i s t m a s D a y , a n d q u a n t i t y of r u b r i c s , w e are b e t t e r i n f o r m e d f o r t h i r t e e n t h - c e n t u r y ordinals that m a y have s u r v i v e d f r o m R o u e n (they m a y not be to the f i f t e e n t h c e n t u r i e s : see Le Graduel romain II, R o u e n t h a n w e are thirteenth-century

information we s h o u l d consult

o n e s , h o w e v e r ; i n fact t h e r e are at least n i n e , r a n g i n g i n d a t e f r o m t h e late t h i r t e e n t h 195). T h e s e c o n s i d e r a t i o n s are of

course e s p e c i a l l y r e l e v a n t i f o n e w i s h e s t o r e c o n s t r u c t t h e w h o l e l i t u r g y o f a m e d i e v a l c h u r c h . E v e n i f o n l y t h e c h a n t is i m p o r t a n t f o r t h e i n v e s t i g a t i o n i n h a n d , it s h o u l d s t i l l be b o r n e i n m i n d t h a t a m e d i e v a l s o u r c e r e c o r d s o n l y w h a t w a s u n d e r s t o o d t o b e ' r i g h t ' at a p a r t i c u l a r p l a c e a n d t i m e .

(ii)

Transcription t r a n s c r i p t i o n s h o u l d represent the rule rather than t h e o r i g i n a l as f a i t h f u l l y as i s the exception. B u t where a

Any modern chant memory made?

c o m p a t i b l e w i t h t h e v e r y n o t i o n of t r a n s c r i p t i o n . A s a l r e a d y s t a t e d , p e r f o r m a n c e f r o m was for centuries t r a n s c r i p t i o n is n e e d e d , e i t h e r f o r p e r f o r m a n c e o r f o r s t u d y , h o w s h o u l d it b e s t b e T h e answer has s e e m e d to m a n y to lie i n the S o l e s m e s / V a t i c a n b o o k s of the present c e n t u r y . E s p e c i a l l y i n t h e latest v o l u m e s o f t h e Antiphonale Romanian there is a v a r i e t y of s i g n s w h i c h c a n c o p e w i t h a l m o s t a l l f e a t u r e s o f e a r l y m e d i e v a l o r i g i n a l s : that i s , m o s t s i g n s o f t h e m e d i e v a l s o u r c e h a v e a c o u n t e r p a r t , so t h a t w i t h t h e m o d e r n edition i n front of o n e , one c o u l d imagine h o w the o r i g i n a l l o o k e d . T h e biggest a d v a n t a g e o f t r a n s c r i p t i o n i n t o a sort o f s q u a r e n o t a t i o n is t h a t t h e g r o u p i n g o f n o t e s in medieval sources c a n be preserved. T h i s is, however, equally possible The with t r a n s c r i p t i o n i n m o d e r n r o u n d notes o n a five-line stave. Solesmes/Vatican it is

square n o t a t i o n h a s b y n o w t h e a u r a o f t r a d i t i o n a n d e c c l e s i a s t i c a l a p p r o b a t i o n , a n d i s i n i i s s o l u b l y l i n k e d w i t h chant i n an almost s p i r i t u a l w a y . D e s p i t e its aptness, modifications, of a n o t a t i o n from the h i g h Middle Ages. Its resuscitation s h o u l d n e v e r t h e l e s s n o t b e f o r g o t t e n t h a t i t is a late n i n e t e e n t h - c e n t u r y r e v i v a l , w i t h c o m p a r a b l e to t h e r e v i v a l o f G o t h i c a r c h i t e c t u r a l s t y l e s ( w i t h m o d i f i c a t i o n s ) as t h e model for nineteenth-century churches. S i n c e t r a n s c r i p t i o n s have to be made f r o m a w i d e variety of m e d i e v a l n o t a t i o n s , a s y s t e m w h i c h i s flexible e n o u g h to reflect t h a t v a r i e t y is d e s i r a b l e . I n t h i s b o o k I h a v e therefore used r o u n d note-heads, w i t h special signs f o r l i q u e s c e n c e , the oriscus, t h e q u i l i s m a , a n d t h e s t r o p h i c i . E s p e c i a l l y i n v i e w of t h e r e s e a r c h o f C a r d i n e a n d h i s s t u d e n t s it s e e m s v i t a l t o i n d i c a t e n o t e - g r o u p i n g s as a c c u r a t e l y as p o s s i b l e , a n d m a k e clear e x a c t l y w h i c h n o t e s are j o i n e d to e a c h o t h e r i n t h e s a m e s i g n . S l u r s are u s e d h e r e f c r that p u r p o s e . T h i s b o o k c o n t a i n s p l e n t y of e x a m p l e s w i t h b o t h m e d i e v a l s i g n s a n d transcription i n parallel, w h i c h demonstrate what I believe to be a reasonable m e t h o d . N o t e - g r o u p i n g c a n be reflected s i m p l y b y p l a c i n g notes close together, rather than b i r r i n g t h e m like m o d e r n quavers or placing them all u n d e r a general phrase m a r k . T h e p r a c t i c e o f c o v e r i n g a l l n o t e s s u n g to a s i n g l e s y l l a b l e w i t h a s i n g l e p h r a s e m a r k i s r e g r e t t a b l e , e s p e c i a l l y i n t h e case of l o n g m e l i s m a s .

(iii) Transcription

from

Stafftess

Notations

F o r a n y t r a n s c r i p t i o n f r o m a staffless n o t a t i o n o n to t h e m o d e r n s t a v e , a s o u r c e h a s t o be s e l e c t e d to suggest possible pitches. T h e later s o u r c e (or sources) s h o u l d be

a c k n o w l e d g e d , e v e n w h e n it is a m o d e r n S o l e s m e s / V a t i c a n b o o k . I d e a l l y o n e w o u l d find a s o u r c e i n s t a f f - n o t a t i o n w h o s e m e l o d i c t r a d i t i o n is as c l o s e as p o s s i b l e to the romain have had cite no a n d Antiphonale e a r l i e r m a n u s c r i p t . T h e m o n k s of S o l e s m e s w o r k i n g o n l^e Graduel t o w r e s t l e w i t h t h i s p r o b l e m . W h e r e a s t h e e a r l i e r Graduale

m a n u s c r i p t s o u r c e s t o j u s t i f y t h e g i v e n p i t c h e s , t h e n e w p r o j e c t h a s first i d e n t i f i e d the m o s t i m p o r t a n t e a r l y m a n u s c r i p t s w i t h staffless n o t a t i o n , a n d t h e n m a t c h e d e a c h one w i t h a s o u r c e w i t h s t a f f - n o t a t i o n (see F r o g e r 1 9 7 8 , E d i t i o n ; B e r r y 1 9 7 9 ) . T h e c o p i o u s d e t a i l of s o m e of t h e earliest s o u r c e s o f t e n d e m a n d s s p e c i a l s o l u t i o n s . T h e b e s t , b u t also t h e m o s t c u m b e r s o m e , is to c o p y t h e s i g n s o f t h e e a r l i e r m a n u s c r i p t o v e r t h e s t a v e f o r t h e t r a n s c r i p t i o n . A s e a r l y as 1876 M i c h a e l H e r m e s d o r f f i s s u e d a Graduale example w i t h n e u m e s p r i n t e d o v e r t h e s t a v e . T h e i n v a l u a b l e Graduale of this m e t h o d , with t w o sets of h a n d w r i t t e n n e u m e s triplex is an typeset over the

n o t a t i o n . O t h e r w i s e s o m e m e a n s h a s t o b e d e v i s e d of r e p r e s e n t i n g i n t h e t r a n s c r i p t i o n s u c h f e a t u r e s as s i g n i f i c a t i v e l e t t e r s , e p i s e m a s , a n d t h e d i s t i n c t i o n b e t w e e n p u n c t u m a n d t r a c t u l u s ( p u n c t u m a n d u n c i n u s ) . It s e e m s u n w i s e t o i g n o r e a n y d e t a i l of the d o c u m e n t b e i n g t r a n s c r i b e d , especially w h e n o n e is u n s u r e of its precise significance.

PLATES

FACSIMILES OF C H A N T
I N T R O D U C T I O N The illustrations books o n t h e n e x t p a g e s are i n t e n d e d containing music and different

BOOKS

t o d i s p l a y b o t h d i f f e r e n t t y p e s of types of n o t a t i o n . In eighteen

liturgical

p h o t o g r a p h s it is o b v i o u s l y i m p o s s i b l e

to g i v e m o r e t h a n a n a r b i t r a r y s e l e c t i o n , b u t

t h e s e f a c s i m i l e s p r o v i d e at least p a r t i a l s u p p o r t f o r C h . I l l , o n l i t u r g i c a l b o o k s a n d plainchant sources, and C h . I V , o n notation. I have u s e d pages o n l y f r o m sources i n B r i t i s h libraries, these b e i n g o n the w h o l e less w e l l k n o w n t h a n t h o s e o f s o m e o t h e r E u r o p e a n c o u n t r i e s ( b u t see B r i g g s 1 8 9 0 a n d N i c h o l s o n 1 9 1 3 : five sources used b y B r i g g s are f o u n d h e r e ) . T h e m a n u s c r i p t s i n o r d e r of p r e s e n t a t i o n : Plate Plate Plate Plate Plate Plate Plate Plate Plate 1. 2. 3. 4. 5. 6. 7. 8. 9. L o n d o n , B r i t i s h L i b r a r y , H a r l e y 1117 Oxford, Bodleian Library, L a t . liturg. d . 3 L o n d o n , British L i b r a r y , E g e r t o n 857 L o n d o n , British Library, Harley 110 L o n d o n , B r i t i s h L i b r a r y , A d d . 30850 L o n d o n , B r i t i s h L i b r a r y , A d d . 19768 O x f o r d , Bodleian L i b r a r y , Canonici l i t u r g . 350 L o n d o n , B r i t i s h L i b r a r y , A r u n d e l 156 L o n d o n , B r i t i s h L i b r a r y , R o y a l 8, C . x i i i Cambridge, U n i v e r s i t y L i b r a r y , L . 2 . 10 L o n d o n , B r i t i s h L i b r a r y , A d d . 10335 L o n d o n , B r i t i s h L i b r a r y , E g e r t o n 3511 L o n d o n , British L i b r a r y , A d d . 29988 L o n d o n , B r i t i s h L i b r a r y , A d d . 17302 O x f o r d , University College 148 O x f o r d , B o d l e i a n L i b r a r y , L a t . l i t u r g . a. 4 E d i n b u r g h , U n i v e r s i t y L i b r a r y 33 L o n d o n , British L i b r a r y , printed book I B . 8668

P l a t e 10. Plate 11. P l a t e 12. P l a t e 13. P l a t e 14. P l a t e 15. P l a t e 16. P l a t e 17. P l a t e 18.

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L o n d o n , B r i t i s h L i b r a r y , Harley 1117, fo. 44 . L i v e s of St C u t h b e r t , chants for saints' offices, f r o m Canterbury, Christ C h u r c h , second half of 10th c. Breton neumes. T h e plate shows chants for the office of St C u t h b e r t .
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T h e m a n u s c r i p t c o n t a i n s B e d e ' s p r o s e a n d v e r s e l i v e s of S t C u t h b e r t , a n d c h a n t s f o r t h e N i g h t O f f i c e a n d L a u d s of S t C u t h b e r t ( f o s . 4 3 - 4 4 ) , S t B e n e d i c t ( f o s . 6 3 - 6 5 ) ,
r r r r

a n d St G u t h l a c (fos. 6 5 - 6 6 ) .
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( T h e start of t h e C u t h b e r t o f f i c e m a y b e s e e n i n r e a d i n g a n d s i n g i n g , a n d s e r v e d as a

P a l M u s 2, p i . 8 1 ; f o . 6 3 It therefore contained

is i n B r i g g s 1890, n o . 6 a n d p a r t of it i n S u n o l 1 9 3 5 , p i . 8 2 . ) material for both

s u p p l e m e n t to t h e o t h e r o f f i c e - b o o k s of t h e c h u r c h f o r w h i c h it w a s w r i t t e n . A t t h e s t a r t of t h e p a g e are t h e final r e s p o n s o r i e s of t h e N i g h t O f f i c e . T w o are g i v e n s i m p l y as t e x t c u e s (Iuravit dominus, Magnificavit ilium) because they w o u l d have presulem b e e n a v a i l a b l e c o m p l e t e i n t h e s e c t i o n f o r t h e c o m m o n of s a i n t s i n a n a n t i p h o n e r . T h e f i n a l r e s p o n s o r y b e g i n s o n l i n e 2, a n d is c o p i e d c o m p l e t e : R . O beatum Cuthberhtum V . Admirandus cunctis fortis hie operibus. t h e r e f o l l o w five a n t i p h o n s f o r t h e p s a l m s Qui de rupe prompsit aquam, ad In a n d Mox pater Cuthberhte, suos affatur. T h e rubric IN crescens athleta, A f t e r the r u b r i c episcopatu
EVANGELIA IN MATUTINIS LAUDIBUS

t o b e s u n g at L a u d s : Cristi suo, The Hinc tanguntur

artis sacri,

a n n o u n c e s t h e a n t i p h o n f o r t h e B e n e d i c t u s c a n t i c l e , Languor last a n t i p h o n , O magne chants are presul commemorations. r h y m e d (end-stressed),

in

dies. The

is f o r t h e M a g n i f i c a t at as f o r e x a m p l e the first

V e s p e r s or for subsequent t e x t s of t h e antiphon:

C r i s t i fortis hie athleta ac verus anachorita m u n d i tempsit haec infima quo caeli caperet s u m m a . T h e s e are c l a s s i c B r e t o n n e u m e s , f u l l y c o m p a r a b l e w i t h t h o s e f r o m B r i t t a n y i t s e l f . T h e f o l l o w i n g m a y be n o t i c e d : (a) (b) (c) (d) (e) b o t h c o n j u n c t a n d d i s j u n c t pes a n d c l i v i s : t h e last n o t e of t h e c l i m a c u s o f t e n has a l o n g , s l e n d e r , vertical tail: liquescent neumes: t h e o r i s c u s , e i t h e r a l o n e , o r j o i n e d to a s u b s e q u e n t l o w e r note: t h e l e t t e r / ('levate') f o r t h e rise of a fifth i n l i n e 2 at ' q u i ' :
r

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T h e s a m e o f f i c e c h a n t s a p p e a r i n t h e W o r c e s t e r c o m p e n d i u m ( P a l M u s 12, 2 9 2 f f . ) , f a c i l i t a t i n g t h e f o l l o w i n g p a r a l l e l t r a n s c r i p t i o n of t h e start of t h e r e s p o n s o r y .

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O x f o r d , B o d l e i a n L i b r a r y , L a t . l i t u r g . d . 3, fo. 3 . F r a g m e n t of a c o m b i n e d lectionary and g r a d u a l , f r o m A q u i t a i n e , 10th c. A q u i t a n i a n neumes. T h e plate shows parts of the masses for M o n d a y a n d T u e s d a y i n H o l y Week.
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T h i s fragment was originally one page, with text and music set out i n two columns. It was then cut down to a suitable size for making guard leaves for a later manuscript. It was f o l d e d d o w n the m i d d l e , but part of the initial N can be seen on the left of the f o l d . T e x t and music are missing up above what is now preserved, so altogether only
7

the lower right-hand quarter (approximately) of a b i f o l i u m is preserved. H o w does one identify the material on this fragment? T h e rubrics
COMMUNIO

and

F E R i A i n on the right indicate the c o m m u n i o n chant at the end of one mass, and the day on w h i c h the next mass is celebrated. T h e chants, the c o m m u n i o n and the introit Nos autem or the Liber usualis gloriari, Erubescant can then be located in a m o d e r n chant-book, or any

other properly indexed edition. T h e manuscript contains texts as well, so that a missal is necessary for identifying everything here visible. It can then be ascertained that on the left is part of the G o s p e l for the M o n d a y after Psalm S u n d a y . T h e last few lines of the lesson and most of the Offertory chant are missing with the top half of the page. O n l y the closing words of the offertory Eripe partial repeat of the r e s p o n d . After the c o m m u n i o n Erubescant of H o l y Week begins: the introit Nos autem from Jeremiah. None of the proper prayers is given (they w o u l d come after the offertory, c o m m u n i o n , and introit) so it looks as if the book c o m b i n e d lessons and chants only. T h e fragment is listed in G a m b e r 1968, no. 1381 (under the incorrect shelf-mark L a t . liturg. a. 6), alongside two other manuscripts of this type, one also f r o m Aquitaine and one from S a i n t - O m e r . In order to achieve a transcription, the Aquitanian neumes may be read off against those in Paris, Bibliotheque Nationale, lat. 903, reproduced in P a l M u s 13. Paris 776 was used here to guide the transcription of the second half of the c o m m u n i o n . gloriari me V . Exaudi me are visible: '(intr)es in iudicio c u m servo tuo domine', with the cue ' D o c e me' for the the mass for T u e s d a y and the start of the first lesson,

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L o n d o n , B r i t i s h L i b r a r y , E g e r t o n 857, f o . 5 2 . G r a d u a l , f r o m N o y o n , 11 th 12th c.
v

L a o n n e u m e s . T h e plate shows chants for the proper of mass. T h e r e are n o prayers o r lessons o n this page, f o r the b o o k is a g r a d u a l . C h a n t s are g i v e n f r o m three masses of the post-Pentecost season. I n t h e m a n u s c r i p t the masses a r e n u m b e r e d , s o t h a t w h e n a c h a n t is t o b e r e p e a t e d f r o m s o m e p r e v i o u s o c c a s i o n , a r e f e r e n c e t o t h e e a r l i e r o c c u r r e n c e is g i v e n . T h e c h a n t s o n t h i s p a g e a r e : (end Accedite hymnus deus Deus Gustate of mass f o r the seventh \ o f f e r t o r y Sicut deus Sunday after P e n t e c o s t ) : c o m m u n i o n Inclina gradual aurem Venite tuam. Suscepimus michi V. popule fili Te V. decet ( i n c i p i t o n l y ; r e f e r e n c e t o ' C a p i t u l u m l x v i i i ' , m a s s 6 8 ) ; Alleluia in holocaustuni] S u n d a y after P e n t e c o s t m a s s 1 4 3 : i n t r o i t Attendite

'Dominica VIII'eighth P s . Magnus in te speravi et videte. deus adiuvat elevata

( i n c i p i t o n l y ; r e f e r e n c e t o m a s s 3 1 ) ; G r a d u a l Esto humilem

( i n c i p i t o n l y ; r e f e r e n c e t o m a s s 6 6 ) ; Alleluia

meus\ o f f e r t o r y Popidum

(incipit o n l y ; reference to mass 7 0 ) ; c o m m u n i o n

N i n t h S u n d a y a f t e r P e n t e c o s t m a s s 144 (last l e t t e r s n o t v i s i b l e o n p h o t o g r a p h ) : i n t r o i t Ecce V . Quoniam 1890, The me P s . Deus in nomine Domine Deus tuo: g r a d u a l Domine salutis mee. Briggs dominus noster est] Alleluia

F a c s i m i l e s o f o t h e r p a g e s w i l l b e f o u n d i n NG x v i i . 6 2 2 ( m a s s e s 1 7 4 - 8 0 ) ; n o . 8 ( m a s s e s 1 3 5 - 6 ) ; P a l M u s 3 , p i . 158 ( m a s s e s 1 3 - 1 5 ) .

n e u m e s a r e n o t i n a l l i n s t a n c e s e x a c t l y of t h e L a o n t y p e , h a r d l y s u r p r i s i n g centuries.

w h e n t h e c h i e f p o i n t of reference, m a n u s c r i p t L a o n 2 3 9 , is o l d e r b y t w o

T h e f a v o u r i t e s i n g l e n o t e is m o r e l i k e a s h o r t , s l o p i n g , G e r m a n v i r g a w i t h a h e a d t o t h e l e f t , a n d t h e t r u e L a o n u n c i n u s i s l a r g e l y a b s e n t , e x c e p t f o r l o w n o t e s at t h e s t a r t of a g r o u p , w h e r e there is little space f o r a l o n g s t e m . T h e L a o n virga, like a n rare e l o n g a t e d S, i s n o t u s e d , b u t t h e p e s l o o k s r a t h e r l i k e t h i s . ( T h e p e s is s o m e w h a t

i n L a o r i n o t a t i o n , u n c i n u s 4- v i r g a b e i n g p r e f e r r e d . ) T h e flexa i s l i k e w i s e p r e f e r r e d t o a p a i r o f v e r t i c a l l y a l i g n e d u n c i n i ; it r e s e m b l e s m o r e t h e F r e n c h t h a n t h e L a o n f o r m . The circular q u i l i s m a a n d oriscus like a double o c a n b o t h et videte. be seen i n f o l l o w i n g t r a n s c r i p t i o n o f t h e c o m m u n i o n Gustate T o a r r i v e at a p l a u s i b l e v e r s i o n ,

o n e s h o u l d i f p o s s i b l e c o m p a r e t h e n e u m e s w i t h a l a t e r m a n u s c r i p t i n staff n o t a t i o n f r o m N o y o n . L u c k i l y o n e s u c h h a s s u r v i v e d : A b b e v i l l e , B i b l i o t h e q u e m u n i c i p a l e 7, a n o t a t e d m i s s a l o f t h e 13th14th c e n t u r y , w h i c h t h e r e f o r e g u i d e d t h e c h o i c e o f p i t c h e s i n t h e t r a n s c r i p t i o n . ( C o m p a r e t h e v e r s i o n i n t h e Liber at ' G u s T A t e ' a n d ' Q U O n i a m ' . ) / r r rrr . S / / . >|- Jl usualis o r Graduale Romanum

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L o n d o n , B r i t i s h L i b r a r y , H a r l e y 110, fo. 56 . F r a g m e n t of a g r a d u a l , f r o m W i n c h e s t e r ,
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m i d 11th c. E n g l i s h neumes. T h e plate shows chants for the p r o p e r of mass. A s w i t h P l a t e 2, t h e use of t h i s l e a f f o r b i n d i n g a later b o o k h a s r e s u l t e d i n t h e l o s s o f valuable notation, (Commanio) i n t h i s case o n t h e left-hand side. T h e gradale) show are: convertere V . 1. Domine P s . Domini ne in est virtutum
7

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g r a d u a l , a n d c o n s u l t a t i o n of a m o d e r n e d i t i o n b r i n g s o n e t o t h e m a s s e s f o r M o n d a y a n d T u e s d a y after P a s s i o n S u n d a y . T h e chants ira tua V . 2 . Miserere

III STATIO

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T h e r u b r i c ' S t a t i o n at S t C y r i a c u s ' does n o t , of c o u r s e , m e a n t h a t t h e m a s s

s u n g at a n o n - e x i s t e n t c h u r c h of S t C y r i a c u s i n W i n c h e s t e r . T h e m a s s w a s c e l e b r a t e d at s u c h a c h u r c h i n R o m e , a n d t h e r u b r i c w a s s i m p l y c a r r i e d o v e r , e v e n t h o u g h n o longer relevant, w h e n R o m a n service-books were copied i n F r a n c i a a n d elsewhere. T h e n e u m e s are e x a c t l y l i k e t h o s e i n o n e of t h e f a m o u s W i n c h e s t e r t r o p e r s , O x f o r d , B o d l e i a n L i b r a r y , B o d l e y 7 7 5 , p e r h a p s e v e n w r i t t e n b y t h e s a m e h a n d . If t h e b o o k h a d s u r v i v e d c o m p l e t e it w o u l d h a v e f o r m e d a n i n v a l u a b l e c o m p l e m e n t to t h e t r o p e r , c o n t a i n i n g i n f u l l t h e p r o p e r c h a n t s w h i c h are e i t h e r a b s e n t o r i n c o m p l e t e i n t h e o t h e r b o o k . N o c o m p l e t e g r a d u a l f r o m the O l d M i n s t e r , W i n c h e s t e r , has s u r v i v e d . T h e r e are n u m e r o u s f e a t u r e s of s p e c i a l i n t e r e s t . T h e c o m m u n i o n h a s a p s a l m v e r s e , a n d b o t h it a n d t h e i n t r o i t are s u p p l i e d i n t h e m a r g i n w i t h t h e c a d e n c e f o r t h e p s a l m t o n e a n d w i t h a l a b e l i n d i c a t i n g t h e m o d e : p l a g a l i s d e u t e r u s ( m o d e 4) a n d a u t h e n t u s d e u t e r u s (a m i s t a k e f o r a u t h e n t u s t e t r a r d u s : m o d e 7 ) , r e s p e c t i v e l y . S u c h l a b e l s are r a t h e r u n c o m m o n , b u t are f o u n d also i n s o u r c e s f r o m C o r b i e a n d S a i n t - D e n i s H u g l o 1 9 7 1 , Tonaires, m a d e w i t h t h e a i d of t h e W o r c e s t e r compendium Worcester, LU). f.\ JP Cathedral (see 9 0 - 1 0 2 ) . T h e f o l l o w i n g t r a n s c r i p t i o n of the c o m m u n i o n was Chapter

L i b r a r y F . 160 ( c o m p a r e t h e v e r s i o n i n GR o r rl t L Jit J

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T h e e n t i r e t e x t of t h e m a n u s c r i p t has b e e n e d i t e d b y H e s b e r t (CAO a n d p u b l i s h e d i n f a c s i m i l e (Antiphonale Silense).

2, m a n u s c r i p t S ) ,

T h e c h a n t s are G r e g o r i a n , n o t M o z a r a b i c , b u t t h e o l d S p a n i s h n o t a t i o n u s e d f o r M o z a r a b i c c h a n t s has b e e n r e t a i n e d , i n p r e f e r e n c e t o t h e A q u i t a n i a n n e u m e s f o u n d i n some comparable S p a n i s h sources ( a n d i n t h e a d d i t i o n s to t h e transisset first pages of this manuscript). A f t e r t h e f i n a l r e s p o n s o r y o f the N i g h t O f f i c e (Dum sabbatum, l i n e 3) t h e r e is a t e x t i n c i p i t f o r t h e T e D e u m ( l i n e 7 ) . A c r o s s i n t h e m a r g i n d i r e c t s t h e s i n g e r to t h r e e l i n e s a d d e d at the f o o t of t h e p a g e , t h e Quern queritis m a i n t e x t is t a k e n u p w i t h L a u d s a n t i p h o n s . V e r s e a n d G l o r i a f o r the r e s p o n s o r y Dum transisset use a v e r s i o n of t h e s t a n d a r d notation. t o n e f o r m o d e 4 . T h e first h a l f is e a s i l y t r a n s c r i b e d , b u t f o r t h e rest o n e w o u l d h a v e t o l o c a t e a n a n t i p h o n e r of t h e s a m e t r a d i t i o n w i t h d i a s t e m a t i c d i a l o g u e . T h e rest o f t h e

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1741, f o . 1 1 8 ( f a c s i m i l e i n V e c c h i 1955). T h e s i g n i f i c a t i v e letters u s e d i n lines 1 3 - 1 5

P l a t e 18, w h i c h s h o w s t h e s a m e s e q u e n c e i n t h e p r i n t e d M a i n z g r a d u a l o f 1 5 0 ) , g i v e s o t h e r p i t c h e s , w h i c h d o n o t c o r r e s p o n d as w e l l w i t h t h e n e u m e s o f L o n d o n 19768 ( r i g h t - h a n d s i d e i n t h e e x a m p l e h e r e ) . I n t h i s case t h e u s e o f a n e a r l i e r s o u r c e , as o p p o s e d t o a l a t e r o n e f r o m t h e s a m e r e g i o n , is j u s t i f i e d . L o n d o n 1 9 7 6 8 is n e v e r t h e l e s s a m o n a s t i c s o u r c e ( f r o m t h e B e n e d i c t i n e a b b e y o f S t A l b a n ) a n d one's first r e c o u r s e s h o u l d b e t o a later m a n u s c r i p t f r o m t h e s a m e m o n a s t e r y o r o n e i n close relation to it. P

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T h e i l l u m i n a t o r n e v e r e n t e r e d the large i n i t i a l i n the m i d d l e of t h e p a g e , b u t its s h a p e is u n m i s t a k a b l e . A t t h e t o p o f the page is t h e last l i n e of t h e p o s t c o m m u n i o n p r a y e r Huius Saciasti nos domine domine quesumus familiam sacramenti, tuam. These then ( l i n e 2) another the postcommunion, second Mass est on prayers conclude

C h r i s t m a s D a y . T h e r u b r i c f o r the t h i r d M a s s f o l l o w s : ' A d m i s s a m m a i o r e m \ F i r s t c o m e s t h e d i a l o g u e t r o p e a t t r i b u t e d to T u o t i l o of S t G a l l , Hodie f o r t h e i n t r o i t [P]uer natus est nobis w i t h P s . Cantate domino t h e K y r i e ( M e l n i c k i 1955, date, cantandus ?iobis, Then canticum novum.

n o . 74) a n d G l o r i a ( B o s s e 1955 n o . 21) are n o t a t e d . i n place beside the

T h e f u l l n e s s o f the m a t e r i a l is s u r p r i s i n g . N o t a t e d m i s s a l s are n o t c o m m o n at t h i s a n d t h e i n c l u s i o n of t r o p e s a n d o r d i n a r y - o f - m a s s c h a n t s p r o p e r c h a n t s i n o r d e r as t h e y w e r e s u n g is also u n u s u a l . It i s , h o w e v e r , sometimes

e n c o u n t e r e d i n I t a l y , a c l u e t o the p r o v e n a n c e of the b o o k . T h e n e u m e s are G e r m a n , b u t these were also used i n a few N o r t h I t a l i a n centres: B o b b i o , M o n z a , M o g g i o . O n t h e b a s i s of t h e l o c a l s a i n t s h o n o u r e d i n t h e S a n c t o r a l e , t h e m a n u s c r i p t has been a s s i g n e d b o t h t o B r e s c i a a n d V e r c e l l i . If t h e i d e n t i f i c a t i o n of K y r i e 7 4 is correct,

h o w e v e r , a n o t h e r l i n k e m e r g e s , f o r t h i s r a r e m e l o d y is l i s t e d b y M e l n i c k i o n l y f o r s o u r c e s f r o m M o g g i o a n d A q u i l e i a . A t r a n s c r i p t i o n m a y b e m a d e w i t h t h e h e l p of these later sources.

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L o n d o n , B r i t i s h L i b r a r y , A r u n d e l 156, f o . 3 5 . G r a d u a l , sacramentary, and lectionary, W i i r z b u r g diocese, early 13th c. G e r m a n neumes. T h e plate shows M a s s o n Easter E v e and the ' O r d o s e p u l c h r i ' l i t u r g i c a l d r a m a i n the N i g h t O f f i c e .
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A l t h o u g h t h e b o o k basically c o n t a i n s m a t e r i a l f o r t h e c e l e b r a t i o n of mass, a n ' O r d o s e p u l c h r i ' c e r e m o n y has been entered ( r u b r i c e n d of l i n e 6 ) , w h i c h e n d s w i t h t h e T e D e u m , s h o w i n g t h a t it w a s p e r f o r m e d at t h e e n d o f t h e N i g h t O f f i c e . A t t h e b e g i n n i n g of t h e p a g e a r e t h e c o n c l u d i n g c h a n t s f o r t h e s p e c i a l s h o r t f o r m o f m a s s at m i d n i g h t between Laudate H o l y S a t u r d a y a n d Easter S u n d a y : t h e e n d of a l i t a n y , K y r i e (only the 1 9 5 5 , n o . 3 9 ) , AIL Confitemini omnes gentes (incipit only). domino quoniam bonus a n d tract domium incipit; Melnicki

T h e V i s i t a t i o is n o t f u l l y n o t a t e d , f o r r e a s o n s t h a t a r e u n c l e a r . T h e t e x t o f t h i s ceremony has been edited b y L i p p h a r d t ( 1 9 7 5 - 8 1 , n o . 371). T h e G e r m a n n e u m e s are t h i c k e r t h a n t h o s e i n t h e p r e v i o u s p l a t e , a n d i n s o m e cases a l r e a d y h a v e t h e f o r m k n o w n as G o t h i c o r ' H u f n a g e l s c h r i f t ' (see P l a t e 1 8 ) . T h e p e s i s still r o u n d , b u t t h e s c a n d i c u s ( e . g . line 9, ' c r u c i f i X U M ' ) consists of t w o lozenges j o i n e d l i g h t l y t o a h o r s e s h o e - n a i l , as i n m a n y e x a m p l e s o f G o t h i c n o t a t i o n . T h e e x a m p l e t r a n s c r i b e s t h e start o f t h e A l l e l u i a , w i t h p i t c h e s d e r i v e d f r o m G r a z , U n i v e r s i t a t s b i b l i o t h e k 807 ( P a l M u s 19). T h e apostrophe a n d q u i l i s m a are still to be f o u n d , b u t the oriscus has disappeared a n d looks like a v i r g a (horseshoe-nail), the p e n u l t i m a t e note of the e x a m p l e . , y) Jl ^ fl *J j Ait* + + r r f \ a ft n *;i J1N as i n

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T h e n o t a t i o n i n P l a t e s 9, 10, a n d 15 c a n be seen i n a c h r o n o l o g i c a l p r o g r e s s i o n , w i t h a l l o w a n c e f o r t h e d i f f e r e n c e s of p r o v e n a n c e . M a n y of t h e n e u m e s o n P l a t e 9 h a v e o b v i o u s heads or tails ( v i r g a , pes, c l i v i s ) , w h i c h t h e n makes clear their p o s i t i o n o n the staff i n P l a t e 10. I n l i n e s 1 1 - 1 3 t h e r e are s e v e r a l e x a m p l e s of t h e pes s t r a t u s , o r p e s 4- o r i s c u s . T h e y o c c u r h e r e i n t h e m e l i s m a s w i t h a s s o c i a t e d p r o s u l a s w h i c h o c c u r t o w a r d s t h e e n d of t h i s set of G l o r i a t r o p e v e r s e s . T h e p a g e b e g i n s i n t h e m i d d l e o f a G l o r i a ( n o . 39 i n t h e c a t a l o g u e of B o s s e 1 9 5 5 ) . O n t h e p r e v i o u s s i d e t h e r e h a v e b e e n c o p i e d t h e o p e n i n g v e r s e s of t h e t r o p e set Laus Et) hominem celo redimeres, tua Deus. A t t h e e n d of l i n e 4 c o m e s t h e t r o p e v e r s e Ut ( o r Conditorgeneris, as f a r as I k n o w u n i q u e to t h i s m a n u s c r i p t . T r o p e a n d deipatris. It is s y l l a b i c a l l y c o m p o s e d , a n d e a c h

G l o r i a v e r s e s t h e n a l t e r n a t e u n t i l l i n e 10. H e r e , after the t r o p e v e r s e a n o t h e r t r o p e v e r s e b e g i n s , Sapientia

o f its p h r a s e s is r e p e a t e d m e l i s m a t i c a l l y to t h e s y l l a b l e ' E ' . T h e first m e l i s m a a c t u a l l y b e a r s t h e s y l l a b l e ' P e r - ' , t h e start of a w o r d c o m p l e t e d at t h e b e g i n n i n g of l i n e 1 5 :

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[ P ] e r m a n e b i t i n e t e r n u m ' . T h e r e a s o n f o r a l l t h i s is t h a t t h e ' P e r m a n e b i t ' m e l i s m a d e r i v e s f r o m a n o t h e r c o n t e x t (see a b o v e , 1 1 . 2 3 . i i i a n d v i i ) a n d w a s o n l y s u b s e q u e n t l y given the ' S a p i e n t i a ' text. A l t h o u g h L o n d o n 8. C . x i i i has m a n y c l o s e r e l a t i v e s a m o n g N o r m a n a n d N o r m a n S i c i l i a n t r o p e r s , t h e l a t t e r d o n o t c o n t a i n Sapientia. C. A v e r s i o n v e r y c l o s e to L o n d o n 8. a x i i i i n s t a f f - n o t a t i o n d o e s n o t s e e m to e x i s t . T h e t r a n s c r i p t i o n is t h e r e f o r e

c o m p r o m i s e v e r s i o n based o n b o t h A q u i t a n i a n and Italian sources. ( C o m p a r e the ' O rex gloriae' p r o s u l a , E x . I I . 2 3 . 6 . )

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C a m b r i d g e , U n i v e r s i t y L i b r a r y , L I . 2. 10, fo. 19 . P o n t i f i c a l , f r o m E l y , m i d 12th c. E a r l y A n g l o - i N o r m a n square notation. T h e plate shows chants for the D e d i c a t i o n of a Church.
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T h i s p o n t i f i c a l is o n e of a g r o u p of c l o s e l y r e l a t e d m a n u s c r i p t s w r i t t e n i n t h e c e n t u r y o r so a f t e r t h e N o r m a n C o n q u e s t of E n g l a n d . T h e t e x t of o n e of t h e m w a s e d i t e d b y W i l s o n ( 1 9 1 0 ) , a n d t h e p a g e s h o w n h e r e , p a r t of the c e r e m o n y f o r t h e D e d i c a t i o n of a C h u r c h , c o r r e s p o n d s l a r g e l y to p . 105 of h i s e d i t i o n . T h e e n d of a l i t a n y is v i s i b l e at t h e t o p of t h e p a g e . T h e n e x t t h r e e l i n e s ( w r i t t e n i n r e d i n k , t h o u g h t h i s is h a r d l y detectable i n t h e p h o t o g r a p h ) are a r u b r i c s a y i n g t h a t t h e b i s h o p s h a l l r i s e f r o m domine follows. O n line 9 another rubric begins, f r o m the p r a y i n g f o r t h e n e x t p a r t of t h e c e r e m o n y , a n d i n s t r u c t i n g h i m o n t h e o p e n i n g w o r d s . T h e p r a y e r ( ' O r a t i o ' ) Magnificare f o r t h e b i s h o p m u s t n o w t r a c e t h e G r e e k a l p h a b e t w i t h h i s c r o z i e r (cambuta) a n t i p h o n Fundamentum aliud.

left ( i . e . n o r t h ) e a s t e r n c o r n e r to t h e r i g h t w e s t e r n c o r n e r of t h e c h u r c h , s i n g i n g t h e T h e G r e e k a l p h a b e t is s p e l t o u t f o r h i m i n t h e m i d d l e b u t a g u i d e to aula of t h e p a g e : n o t o n l y are t h e s h a p e s d e p i c t e d that h e m u s t t r a c e , eastern accipiat. A l t h o u g h m a n y p r o b l e m s of t r a n s c r i p t i o n d i s a p p e a r w i t h t h e i n t r o d u c t i o n of t h e staff, m a n u s c r i p t s d o n o t lose a l l t h e i r i n d i v i d u a l i t y of s c r i p t a n d a r r a n g e m e n t . use of a w a v y p u n c t u m f o r a n o t e b e l o w the s e m i t o n e s t e p , t h e m i - n e u m e (see one i n the first The IV.6.1),

p r o n u n c i a t i o n is also g i v e n . T h e b i s h o p t h e n traces t h e L a t i n a l p h a b e t f r o m t h e r i g h t t o t h e left w e s t e r n c o r n e r of t h e c h u r c h , s i n g i n g t h e a n t i p h o n Hec

is c h a r a c t e r i s t i c of m a n y N o r m a n a n d E n g l i s h s o u r c e s of t h e t w e l f t h c e n t u r y : t h e r e is a n t i p h o n at ' N E m o ' . T h e use of a b - f l a t c l e f i n b o t h a n t i p h o n s is t y p i c a l l y E n g l i s h . T h e o p e n i n g of t h e first a n t i p h o n is g i v e n i n t r a n s c r i p t i o n .

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Italy, early 12th c. Italian notation on d r y - p o i n t lines, and alphabetic notation. T h e plate shows part of G u i d o of A r e z z o ' s Micrologus.

T h e r a t h e r w i d e v e r t i c a l s p a c i n g of t h e n o t e s at the t o p of t h e p a g e is c a u s e d b y t h e use of t h e l i n e s s c r a t c h e d f o r text as s t a v e - l i n e s . G u i d o o f A r e z z o ' s f a m o u s t r e a t i s e Micrologus 57-83). T h e p a s s a g e e x p l a i n s G u i d o ' s p e c u l i a r m e t h o d of c o m p o s i n g c h a n t s b y d e r i v i n g n o t e s f r o m t h e v o w e l s of t h e text to b e s u n g . T h e t e x t Sancte Iohannes has j u s t b e e n set i n t h i s m a n n e r , w h e r e b y t h e five v o w e l s a, e> /, o , a n d u c o r r e s p o n d to t h e n o t e s C G . B u t G u i d o i n t i m a t e s t h a t s u c h a s m a l l n u m b e r of n o t e s is r a t h e r h a m p e r i n g , a n d he t h e n sets o u t a t a b l e a l l o w i n g g r e a t e r f r e e d o m of m e l o d i c m o v e m e n t . T h e w h o l e scale f r o m F t o a is set o u t , a n d t h e five v o w e l s a s s i g n e d t w i c e o v e r , t h e s e c o n d t i m e a t h i r d h i g h e r t h a n t h e first. A n e x a m p l e , Linguam has s t a y e d w i t h i n t h e c o m p a s s F-f a deviation f r o m the s y s t e m at t h e e n d ('In refrenens, follows, in which G u i d o hoc argumentum s u i t a b l e f o r m o d e 7. G u i d o says t h a t he has a l l o w e d sola u l t i m a parte has b e e n e d i t e d b y G e r b e r t ( G S i i . 2 24) a n d S m i t s v a n W a e s b e r g h e ( C S M 4 ) , a n d t r a n s l a t e d i n t o E n g l i s h b y B a b b ( 1 9 7 8 ,

r e l i n q u i m u s ' ) i n o r d e r to b r i n g t h e m e l o d y b a c k to t h e t e t r a r d u s m o d e ('ut m e l u m s u o t e t r a r d o c o n v e n i e n s r e d d e r e m u s ' ) ; b u t it is n o t c l e a r t o w h i c h n o t e h e is r e f e r r i n g . ( O n Guido's 'automatic' method of composition, see Smits van Waesberghe 1951, 'Improvisation'.)

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T h e c h i e f c o n t e n t s of a s a c r a m e n t a r y are t h e p r o p e r p r a y e r s of m a s s : c o l l e c t , s e c r e t , a n d p o s t c o m m u n i o n . It m a y also c o n i t a i n t h e p r e f a c e s p r o p e r to v a r i o u s t y p e s o f feast a n d s e a s o n s of t h e y e a r , a n d o c c a s i o n a l l y these s o l e m n c h a n t s are n o t a t e d . T h e r i g h t - h a n d c o l u m n begins the p r e f a c e ' I n s o l l e m n i t a t i b u s ' . B o t h t e x t a n d m u s i c are w r i t t e n i n ithe c h a r a c t e r i s t i c B e n e v e n t a n s c r i p t s . T h e m u s i c is n o t e l a b o r a t e a n d the f u l l a v a i l a b l e r a n g e of n e u m e s i s t h e r e f o r e n o t c a l l e d f o r . S e v e r a l of t h e c h a r a c t e r i s t i c B e n e v e n i t a n l i q u e s c e n t n e u m e s are p r e s e n t : P e s m a d e l i q u e s c e n t ; t h e e n d of t h e t a i l i n d i c a t e s t h e p i t c h of t h e second note. Virga plus descending liquescence; the f i n a l s h o r t t u r n d o w n w a r d indicates the d i r e c t i o n of m e l o d i c movement. P u n c t u m plus descending l i q u e s c e n c e ; the e n d o f t h e t a i l i n d i c a t e s t h e p i t c h of t h e s e c o n d note. T h e start of t h e p r e f a c e ' I n s o l l e m n i t a t i b u s ' m a y b e t r a n s c r i b e d as g i v e n b e l o w . I h a v e a s s u m e d t h a t t h e c a d e n c e s f a l l o n a o r G , as i s u s u a l l y t h e case f o r t h e s e c h a n t s . B u t t h i s also i n v o l v e s a s s u m i n g t h a t t h e first c u s t o s is a t o n e t o o l o w . $ D o u b l e p u n c t u m (?) p l u s liquescence. ^ page s h o w n h e r e c o n t a i n s m o s t l y t h e prefaice ' I n f e s t i v i t a t i b u s ' , a n d t o w a r d s t h e e n d of t h e

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T h e V e s p e r s s e r v i c e c e l e b r a t e d b y t h e p o p e o n E a s t e r E v e , w i t h its m a g n i f i c e n t s e r i e s o f G r e e k a n d L a t i n a l l e l u i a s , c o n s t i t u t e d o n e of t h e c h i e f g l o r i e s o f m e d i e v a l R o m a n c h a n t u p u n t i l t h e 1 3 t h c e n t u r y . T h e f o r m of t h e w h o l e c e r e m o n y h a s b e e n set o u t b y S t a b l e i n ( M M M A 2 , 1 1 1 * - 1 1 8 * ) , a n d s u c h of t h e m u s i c as a p p e a r s i n a n o t h e r R o m a n s o u r c e , R o m e lat. 5319, The side s h o w n here are: M a g n i f i c a t a n t i p h o n Cito Station) p r o c e s s i o n a l a n t i p h o n In die a n t i p h o n Alleluia Alleluia alleluia V . 2 . Ke gar et videte estereosen locum die resurrectionis mee (cf. V . 1. O kyrios resurrectionis mee euntes is e d i t e d i n t h e s a m e v o l u m e . T h e s e r v i c e c o n s i s t s of s e v e r a l c o r r e s p o n d s to p p . 1 1 4 * - 1 1 6 * of S t a b l e i n ' s table (for the The p a r t s , p e r f o r m e d at d i f f e r e n t s t a t i o n s , h e n c e t h e m u l t i p l e s i n g i n g of t h e M a g n i f i c a t . p r e v i o u s s i d e of t h e m a n u s c r i p t see NG chants 1: (Second 3: 5: 6: 10: l i n e of m u s i c i . 488), n e a r t h e e n d of t h e first s t a t i o n .

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M M M A 2 . 5 2 6 ) . O n e of t h e f e w p r o b l e m s w h i c h arise i n t h i s , as i n o t h e r m a n u s c r i p t s w i t h c e n t r a l I t a l i a n a n d B e n e v e n t a n n e u m e s , is to d i f f e r e n t i a t e b e t w e e n t h e d i f f e r e n t t y p e s o f l i q u e s c e n c e . I n t h e t r a n s c r i p t i o n , e a c h l i q u e s c e n t n e u m e is g i v e n a b o v e t h e stave a n d n u m b e r e d : F r o m t h e s i z e of t h e o r i g i n a l s i g n t h e r e s e e m t o be at least t w o ' d e g r e e s ' of l i q u e s c e n c e . T h e t i n y c o m m a s u s e d i n 2 , 4 , 5 , 6, a n d 9 s e e m to d e m a n d less e m p h a s i s ( m e l o d i c o r d y n a m i c ) t h a n the o t h e r s . It m i g h t b e t h o u g h t t h a t a p r e v i o u s l o w e r n o t e , as at 5 , so a l o w e r l i q u e s c e n t n o t e is i m p l i e d . they i n d i c a t e a l i g h t l i q u e s c e n c e at t h e u n i s o n , b u t after 4 c o m e s t h e f o r m of c l i v i s i m p l y i n g

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S q u a r e notation on d r y - p o i n t lines. T h e plate shows the end of the series of O - a n t i p h o n s . T h e v a r i e t y o f s q u a r e ( o r q u a d r a t i c ) n o t a t i o n k n o w n b e s t n o w a d a y s is t h a t o f b o o k s w r i t t e n i n P a r i s i n t h e s e c o n d h a l f of t h e 1 3 t h a n d t h e e a r l y 1 4 t h c e n t u r y , u s e d n o t o n l y f o r p l a i n c h a n t b u t also, f o r p o l y p h o n i c m u s i c a n d t h e s o n g s of t h e t r o u b a d o u r s a n d t r o u v e r e s , a n d t h e n a d a p t e d f o r t h e S o l e s m e s / V a t i c a n b o o k s of t h e last h u n d r e d years. square pi. 11), O t h e r varieties also e x i s t e d , i n c l u d i n g that s h o w n here. note-heads. Another variety of square notation found It i s i n fact in a more of c o n s i s t e n t l y s q u a r e t h a n t h e P a r i s i a n t y p e , f o r e v e n t h e c l i m a c u s is w r i t t e n w i t h t h r e e number C a r t h u s i a n b o o k s c a n b e seen i n L o n d o n , B r i t i s h L i b r a r y , A d d . 3 1 3 8 4 ( B r i g g s N a p l e s , B i b l i o t e c a N a z i o n a l e V I . E . 11 ( P a l M u s 2 , p i . 4 7 ) , 1890,

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a p p e a r s first h e r e . T h e r u b r i c i n d i c a t e s , h o w e v e r , t h a t t h e m e l o d y a l o n e ( ' c a n t u s ' ) , s t r i p p e d o f t h e L a t i n v e r s e s , w a s also to b e s u n g o n t h e first S u n d a y o f A d v e n t ; s i m i l a r l y w i t h Clemens rector o n the second S u n d a y .

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s u m m e r part, 1399. M i l a n e s e notation. T h e plate shows part of the responsory Hi sunt qui secuti f o r S S G e r v a s e a n d Prothase. T h e s c r i b e o f t h i s m a n u s c r i p t , t h e p r i e s t F a z i o d e C a s t o l d i s , w r o t e at t h e e n d t h a t h e had finished w o r k o n 31 J a n u a r y 1 3 9 9 , at t h e age o f 4 0 . i s a r e s p o n s o r y ' c u m i n f a n t i b u s ' , o n e of t h o s e s u n g a f t e r t h e h y m n at Hi sunt secuti

V e s p e r s o n the most i m p o r t a n t saints' days (discussed b y M o n e t a - C a g l i o 1957). T h e p e r f o r m a n c e o f t h e r e s p o n s o r y i n v o l v e d m u c h r e p e t i t i o n a n d t h e i n c l u s i o n of t w o l o n g m e l i s m a s , t h e melodiae primae a n d melodiae secundae, d u r i n g the successive repeats of the r e s p o n d . T h e o v e r a l l f o r m seems to have b e e n : Solo Respond Hi sunt qui fierent Schola Solo Schola Solo Schola Respond Verse Respond Respond Respond hi sunt qui secuti Ecce quam (as s u n g b y s o l o i s t ) pertingere at ' m a r t y r e s pertingere at ' m a r t y r e s ' honum primae secuti meruerunt ut Christi martyres

( s e c o n d p a r t ) Ad hoc pertingere

( s e c o n d p a r t ) Ad hoc w i t h melodiae Hi sunt qui secuti w i t h melodiae

(first p a r t )

( s e c o n d p a r t ) Ad hoc secundae melodiae.

O r p o s s i b l y d u r i n g t h e final r e p e a t s , t h e r e s p o n d w a s s u n g c o m p l e t e b y t h e s o l o i s t a n d complete again b y the schola, w i t h T h e s c h o l a w a s c o n s t i t u t e d b y t h e magister w i t h the soloist's part. T h e n o t a t i o n i n t h i s m a s s i v e b o o k (55 X 39 c m . ) is l a r g e e n o u g h f o r s i n g e r s t o p e r f o r m f r o m , a n d p r e s e n t s n o d i f f i c u l t i e s of t r a n s c r i p t i o n . T h e s m a l l v i r g a - l i k e n o t e w h i c h f o l l o w s a l a r g e r o n e o f t h e s a m e p i t c h , as i n l i n e 1 at ' p e r - T I N - G E - r e ' is a r e p e a t e d n o t e , n o t a s i g n o f l i q u e s c e n c e . A t r a n s c r i p t i o n o f t h e Melodiae g i v e n . L i n e s d i v i d e t h e m e l o d y i n t o p h r a s e s , w h i c h I h a v e l a b e l l e d a~d\ t h a t t h e melodiae repeat themselves. primae is it t r a n s p i r e s pueri and the boys themselves, hence

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n o t a t i o n . T h e plate shows chants for the ordinary of mass. M a n y g r a d u a l s c o n t a i n n o t o n l y the p r o p e r c h a n t s of m a s s b u t a l s o e v e r y t h i n g else t h a t c a n t o r a n d s c h o l a s h o u l d s i n g : tropes (in the earlier M i d d l e A g e s ) , chants, and sequences. between The present manuscript concludes with ordinary-of-mass a collection of

o r d i n a r y - o f - m a s s c h a n t s , s o m e of w h i c h are p r o v i d e d w i t h i n d i c a t i o n s f o r d i v i d i n g t h e performance c h o i r a n d o r g a n (the latter p r e s u m a b l y u s i n g t h e c h a n t as a service-books. c a n t u s f i r m u s f o r i m p r o v i s a t i o n ) . T h e t w o G l o r i a s o n t h i s p a g e are e x a m p l e s of t h i s . T h e m e l o d i e s are w e l l k n o w n as n o s . I a n d I X i n t h e V a t i c a n / S o l e s m e s I n b e t w e e n c o m e s a K y r i e , w i t h t h e L a t i n r u b r i c ' D e d o m i n a i i ' (a s e c o n d K y r i e , o r K y r i e - G l o r i a p a i r , for O u r L a d y ) , a n d , i n the m a r g i n , the D u t c h r u b r i c ' v a n onse l i e f u e v r o u w ' . T h i s K y r i e - G l o r i a p a i r w e r e f r e q u e n t l y s u n g at M a r i a n m a s s e s , a n d are assigned thus i n the Vatican/Solesmes service-books. horseshoe-nail T h e n o t a t i o n i s c h a r a c t e r i z e d a b o v e a l l b y the v i r g a s h a p e d l i k e a ( ' H u f n a g e l ' ) . A t r a n s c r i p t i o n of t h e o p e n i n g of t h e K y r i e is g i v e n :

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E a r l y p r i n t e d s e r v i c e - b o o k s w i t h m u s i c are n o d i f f e r e n t i n a r r a n g e m e n t f r o m t h e i r m a n u s c r i p t p r e d e c e s s o r s . T h e p r e s e n t v o l u m e c o n t a i n s t h e p r o p e r c h a n t s of m a s s , t h e n a c o l l e c t i o n of s e v e n t e e n s e q u e n c e s w h i c h Yictime paschali laudes, (an e x t r e m e l y c o n s e r v a t i v e c o l l e c t i o n , i n of t h e 11th c e n t u r y , is t h e m o s t r e c e n t i t e m ) , a n d Christi, o c c u p i e s the first s i x

finally K y r i e - G l o r i a pairs, Sanctus, and A g n u s D e i chants. T h e e n d of t h e s e q u e n c e f o r S t M a r t i n , Sacerdotem Clare sanctorum senatus apostolorum, l i n e s o f t h e l e f t - h a n d p a g e . O n t h e last l i n e b e g i n s t h e s e q u e n c e f o r a p o s t l e s , N o t k e r ' s w h i c h w e h a v e s e e n i n a M a i n z v e r s i o n of s o m e 5 4 0 y e a r s e a r l i e r o n P l a t e 6.

Plainchant and Early M u s i c T h e o r y

V . l . I N T R O D U C T I O N 1969; Gushee 1973; Palisca,

V i v e l l 1912; R i e m a n n 1920; S m i t s van Waesberghe ' T h e o r y , T h e o r i s t s ' , A ' G ; S c h u e l l e r 1988; D y e r 1990.

I n a g e n e r a l s e n s e a g r e a t p a r t of t h e t h e o r e t i c a l w r i t i n g of t h e M i d d l e A g e s is of r e l e v a n c e t o t h e p l a i n c h a n t r e p e r t o r y . F o r e x a m p l e , m u c h c o u l d b e m a d e of t h e p l a c e of ' m u s i c ' i n t h e h i s t o r y of i d e a s i n t h e M i d d l e A g e s , i n t h e m e d i e v a l c o s m o l o g y . B u t t h i s is n o t t h e p l a c e f o r s u c h a d e m o n s t r a t i o n , a n d n o a t t e m p t c a n b e m a d e h e r e to s u m m a r i z e all the possible t h e m e s . Instead, the f o l l o w i n g sections w i l l c o m m e n t o n a restricted practice. number The of topics which touch directly u p o n chant composition and chant two most i m p o r t a n t of these a r e : (i) t h e w a y i n w h i c h t h e

r e p e r t o r y w a s a l i g n e d w i t h t h e p i t c h s y s t e m of G r e e k a n t i q u i t y , a n d t h e c o n c o m i t a n t c o u p l i n g of t h e m o d a l s y s t e m w i t h p a r t i c u l a r p i t c h e s ; a n d ( i i ) t h e i d e n t i f i c a t i o n of what constitutes treated here the m o d a l character on the of p a r t i c u l a r c h a n t s . part of music Some theory of the (music material as the borders speculative

e m b o d i m e n t o f c e l e s t i a l h a r m o n y ) , s o m e of it o n t h e p e d a g o g i c a l ( h o w to n o t a t e m u s i c , h o w to r e a d i t ) , b u t n o f u l l a c c o u n t of t h e s e is a t t e m p t e d . T h e g r o w t h of a m u s i c - t h e o r e t i c a l l i t e r a t u r e f r o m t h e n i n t h c e n t u r y o n w a r d w a s s t i m u l a t e d b y t w o f a c t o r s . T h e first w a s the i n t e r e s t i n a n d t h e d e s i r e t o e m u l a t e t h e w r i t i n g s of late a n t i q u i t y t h a t h a d s u r v i v e d to the t i m e of the C a r o l i n g i a n r e n a i s s a n c e . T h e s e c o n d w a s t h e n e e d to a b s t r a c t f r o m the p r a c t i c e of m u s i c i n t h e l i t u r g y s o m e r u l e s to r e g u l a t e that p r a c t i c e a n d m a k e it m o r e u n i f o r m f r o m p l a c e to p l a c e . T h e c o n c e p t of ' m u s i c a ' i n h e r i t e d b y t h e M i d d l e A g e s f r o m c l a s s i c a l a n t i q u i t y w a s t h a t of m u s i c a l s c i e n c e r a t h e r t h a n p r a c t i c e . T h e G r e e k s t h e m s e l v e s d i d not w r i t e a b o u t t h e i r o w n p r a c t i c a l m u s i c . S o it is not to be e x p e c t e d that ' m u s i c a ' , m u s i c t h e o r y , s h o u l d h a v e b e e n of d i r e c t r e l e v a n c e to C h r i s t i a n c h a n t . T h e c h a n t r e p e r t o r y h a d of c o u r s e g r o w n u p q u i t e i n d e p e n d e n t l y of any t h e o r e t i c a l s y s t e m , a n d it is i n t e r e s t i n g to see how
7

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p e r f o r m a n c e o f t h e l i t u r g y , a n d u s e d s o m e of its s i m p l e r d o c t r i n e s as the f o u n d a t i o n for speculative theory, all i n a c o m p l e t e l y new intellectual and m u s i c a l e n v i r o n m e n t . T h e o t h e r f a s c i n a t i n g p r o c e s s at w o r k t h r o u g h t h e n i n t h to t w e l f t h c e n t u r i e s is t h e

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w h i c h t h e n e x e r t e d a r e t r o a c t i v e i n f l u e n c e o n c h a n t i t s e l f . It w a s a s h o r t a m o d e d i s p l a y e d t h i s o r that tonal behaviour, to the deliberate

s t e p , t h o u g h a m o m e n t o u s o n e , f r o m t h e r e c o g n i t i o n t h a t t h e m a j o r i t y of c h a n t s i n and such a l t e r a t i o n of c h a n t s w h i c h , as i t w e r e , s t e p p e d o u t of l i n e w i t h t h e m a j o r i t y . T h e n e x t s e c t i o n g i v e s a b r i e f a c c o u n t of t h e m u s i c a l t h e o r y of a n t i q u i t y w h i c h w a s k n o w n to the early M i d d l e A g e s . Subsequent sections describe the w a y i n w h i c h the p i t c h e s s u n g i n c h a n t w e r e a s s i g n e d places i n t h e G r e e k G r e a t e r a n d L e s s e r Perfect S y s t e m , t o g e t h e r w i t h t h e g r o w t h of a l i t e r a t u r e a b o u t t h e m o d a l q u a l i t y of c h a n t s .

V.2.

T H E L E G A C Y

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T h e p r i n c i p a l w r i t i n g s o n m u s i c of late a n t i q u i t y k n o w n t o t h e M i d d l e A g e s w e r e , i n c h r o n o l o g i c a l o r d e r , t h o s e of C e n s o r i n u s ( 3 r d c ) , C a l c i d i u s ( 4 t h c ) , A u g u s t i n e (354 430), M a c r o b i u s (early 5 t h c ) , M a r t i a n u s C a p e l l a (early 5 t h c . ) , B o e t h i u s (c.480r . 5 3 0 ) , C a s s i o d o r u s ( < \ 4 8 5 - c . 5 8 0 ) , a n d I s i d o r e o f S e v i l l e (c.599-636). b o d y of m a t e r i a l . C e n s o r i n u s , i n t h r e e c h a p t e r s o f h i s w o r k De die O f these the substantial mostly 1980, i n the natali,

last f o u r w e r e t h e m o s t i n f l u e n t i a l , B o e t h i u s p r o v i d i n g b y f a r t h e m o s t

b o r r o w i n g f r o m V a r r o (1st c ) , w a s c o n c e r n e d w i t h s p e c u l a t i v e m u s i c t h e o r y : m u s i c a n d t h e c o s m o s , a n d its e t h i c a l i n f l u e n c e o n m a n ( C e n s o r i n u s , e d . R o c c a - S e r r a above writers a n d was repeated by many medieval authors. A l s o repeated e d . S a l l m a n n ; see also S a l l m a n n 1 9 8 3 ) . M a t e r i a l o f t h i s s o r t is c o m m o n to m o s t o f t h e M i d d l e A g e s , b u t h a r d l y e x p a n d e d , were explanations of the h a r m o n y of the spheres, s u c h as t h e o n e i n M a c r o b i u s ' c o m m e n t a r y o n t h e Somnhim A u g u s t i n e ' s De musica Scipionis of C i c e r o ( e d . W i l l i s 1 9 7 0 , t r a n s . S t a h l 1 9 5 2 ) . L e s s c o m m o n l y e n c o u n t e r e d is t h e t y p e of m a t e r i a l i n ( P L 32. 1 0 8 1 - 1 1 9 4 , trans. T a l i a f e r r o 1947, K n i g h t 1949). notesthe 'Musica'). M u s i c is s e e n h e r e , as e l s e w h e r e , as a n e m b o d i m e n t o f p r o p o r t i o n . T h e c o n c e p t w a s g e n e r a l l y i l l u s t r a t e d w i t h r e f e r e n c e to t h e h a r m o n i c i n t e r v a l s b e t w e e n octave, Music's De fifth, d i s p l a y e d i n t h e m e t r e s a n d r h y t h m s of m e t r i c a l v e r s e (see C r o c k e r 1 9 5 8 , power over living b e i n g s n o t Philologiae et Mercurii, c.) only humans f o u r t h , a n d so o n . B u t i n A u g u s t i n e ' s t r e a t i s e t h e p r o p o r t i o n s are t h o s e b u t also a n i m a l s a n d e v e n to b o r r o w m a t e r i a l of m u s i c a l by

p l a n t s i s again a p r i n c i p a l p r e o c c u p a t i o n i n the m u s i c a l part of M a r t i a n u s C a p e l l a ' s nuptiis which then proceeds Aristides Quintilianus (3rd-4th o n the classification knowledge,

i n c l u d i n g its p i t c h e s , scale s y s t e m s , s p e c i e s , a n d i n t e r v a l s ( e d . W i l l i s , t r a n s . S t a h l ; see also S t a h l 1 9 7 1 ) . T h e m u s i c - t h e o r e t i c a l texts of C a s s i o d o r u s ( e d . M y n o r s 1937) a n d I s i d o r e ( e d . L i n d s a y 1911) are l i k e w i s e m a i n l y c o n c e r n e d w i t h t h e c l a s s i f i c a t i o n o f m u s i c a l k n o w l e d g e i n g r o u p s of t o p i c s : of t h e t o p i c s t h e m s e l v e s t h e r e is r e l a t i v e l y l i t t l e d i s c u s s i o n ( O n C a s s i o d o r u s see also H o l t z 1984, S t r u n k 1950.) The classic e x p o s i t i o n of t h e r e l a t i o n s h i p b e t w e e n music, p r o p o r t i o n , a n d the u n i v e r s e is i n P l a t o ' s Timaeus, k n o w n to t h e M i d d l e A g e s i n t h e r e w o r k i n g b y 1950; o n Isidore Strunk

C a l c i d i u s (ed. W a s z i n k 1962;

W a s z i n k 1964;

f o r P l a t o see A r n o u x 1 9 6 0 ,

Cornford that

1 9 3 7 ) . H e r e it is e x p l a i n e d h o w t h e d e m i u r g e (easily t r a n s m u t e d b y l a t e r w r i t e r s i n t o the C h r i s t i a n G o d ) created the w o r l d - s o u l f r o m a substance w h i c h c o m b i n e d w h i c h is i n d i v i s i b l e a n d u n c h a n g i n g ( e t e r n a l m a t e r i a l , a n d subject to c h a n g e . T h i s substance was d i v i d e d into sections verities) a n d that w h i c h is d i v i s i b l e , whose 1 : 2, 2 : 3 , 3 : 4 a n d

lengths were i n strict p r o p o r t i o n a l r e l a t i o n s h i p w i t h each other,

so o n . S i n c e t h e p r o p o r t i o n s w e r e t h o s e of P y t h a g o r e a n h a r m o n i c t h e o r y , m u s i c c o u l d b e u n d e r s t o o d as a r e f l e c t i o n of t h e c r e a t i o n of the w o r l d a n d its d i v i n e o r d e r . T h e d i v i n e o r d e r w a s r e f l e c t e d n o t o n l y i n the o r d e r i n g of t h e E a r t h a n d h e a v e n l y b o d i e s , t h e m a c r o c o s m , b u t also i n m a n , the m i c r o c o s m , i n t h e b a l a n c e b e t w e e n a n d his behaviour. A l t h o u g h B o e t h i u s ' De institutione includes sizes 1967, chapters about and music's other musica ethical matter, ( e d . F r i e d l e i n 1867, t r a n s . B o w e r power, its c h i e f the harmony of the 1989) spheres, his s p i r i t u a l a n d p h y s i c a l b e i n g . H e n c e the i n f l u e n c e of m u s i c u p o n t h e state of h i s s o u l

P y t h a g o r a s ' d i s c o v e r y of m u s i c a l p r o p o r t i o n s (the s t o r y of the h a m m e r s of d i f f e r e n t i n the 1978, smithy) 1988, substance is a comprehensive e x p o s i t i o n o f p r o p o r t i o n a l t h e o r y , scales, a n d s p e c i e s . ( O n B o e t h i u s see a l s o B o w e r C a l d w e l l 1 9 8 1 , G i b s o n 1981, W h i t e 1981, C h a d w i c k 1 9 8 1 . ) M u c h the o f B o e t h i u s ' e x p o s i t i o n is set o u t w i t h r e f e r e n c e to the m o n o c h o r d , a m e t h o d t a k e n u p i n t h e M i d d l e A g e s , at least b y t h o s e w r i t e r s w h o g o so f a r as t o d e m o n s t r a t e p h y s i c a l b a s i s of t h e s i m p l e p r o p o r t i o n s . B o e t h i u s a p p e a r s to h a v e w i s h e d to a t t e m p t a s u m m a r y o f G r e e k m u s i c a l l e a r n i n g i n t h e L a t i n l a n g u a g e , at a t i m e w h e n t h e s u b j e c t s of the q u a d r i v i u m ( a r i t h m e t i c , g e o m e t r y , m u s i c , a s t r o n o m y ) w e r e neglected i n f a v o u r o f t h e r h e t o r i c a l a r t s , t h e t r i v i u m ( g r a m m a r , r h e t o r i c , a n d d i a l e c t i c ) , p a r t l y o u t of fear that G r e e k l e a r n i n g w a s i n d a n g e r of b e i n g lost to the w o r l d of t h e late Roman E m p i r e . H i s p l a n ( w h i c h r e m a i n e d u n c o m p l e t e d ) a p p e a r s t o h a v e b e e n a r e w o r k i n g of N i c o m a c h u s ' h a n d b o o k of h a r m o n i c s , a lost i n t r o d u c t i o n to m u s i c b y N i c o m a c h u s , and Ptolemy's harmonics (Bower the G r e e k G r e a t e r m o d e r n A-a\ genera, and Lesser 1978). S y s t e m w a s of great i m p o r t a n c e . Since he B o e t h i u s ' d e m o n s t r a t i o n of t h e c o r r e c t i n t e r v a l s b e t w e e n t h e n o t e s w h i c h m a k e u p Perfect d e m o n s t r a t e d n o t o n l y t h e i n t e r v a l s of t h e d i a t o n i c scale (the e q u i v a l e n t of, s a y , o u r w i t h o u t a c c i d e n t a l s ) , b u t also t h o s e of the c h r o m a t i c a n d e n h a r m o n i c p r o v i d e d far more information than was useful to medieval was Boethius

m u s i c i a n s : at l e a s t , t h e r e w a s n o a t t e m p t i n the M i d d l e A g e s t o relate the i n t e r v a l s o f t h o s e t w o g e n e r a to t h e c h a n t r e p e r t o r y . B o e t h i u s ' d i v i s i o n o f t h e m o n o c h o r d a c c o m p l i s h e d i n t w o s t a g e s , the first e s t a b l i s h i n g the first, s e c o n d , a n d f o u r t h n o t e s o f e a c h t e t r a c h o r d , t h e s e c o n d stage filling i n t h e n o t e s w h i c h d i f f e r e d f r o m o n e g e n u s to a n o t h e r . E x . V . 2 . 1 s h o w s h o w t h e first stage p r o c e e d e d , a n d t h e n g i v e s t h e s e c o n d stage d i v i s i o n of t h e h i g h e s t t e t r a c h o r d . p i t c h e s Aa' F o r convenience, the m o d e r n equivalent are s h o w n b e n e a t h the l i n e r e p r e s e n t i n g the s t r i n g of t h e m o n o c h o r d . pitches.

T h e c o m p l e t e d i a t o n i c s c a l e , its c o m p o n e n t t e t r a c h o r d s , a n d t h e G r e e k n a m e s of e a c h n o t e are g i v e n i n T a b l e V . 2 . 1 , a g a i n w i t h h y p o t h e t i c a l m o d e r n e q u i v a l e n t E q u a l l y i m p o r t a n t w a s B o e t h i u s ' d e m o n s t r a t i o n of the d i f f e r e n t s p e c i e s of o c t a v e ,

2.

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1. 2. 4. 5. 6. 7. 8. 9. take a s t r i n g lenrth d i v i d e A B into 4 : d i v i d e A B by 9 : d i v i d e A B by 3 : d i v i d e C B by 4 : d i v i d e D B by 9 d i v i d e D B by 4 : d i v i d e D B by 3 : d i v i d e K B by 2 :

AB CDE F G K L M N X

AB AB AB CB DB DB DB KB

CB : DB : EB : FB = 9 : 8 : GB = 3 2 : KB = 4 3 : LB = 9 8 : MB = 4 : 3 : NB = 3 : 2 : XB = 2 : 1

Second division of the m o n o c h o r d (only hyperboleon tetrachord) ff KK LL

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1. d i v i d e A B into 4 : let the centre be O , three-quarters be L L 2. d i v i d e L L to B by 8; measure the same length (i.e. one-eighth of L L - B ) i n front of L L : KK. " K K - B : LL-B = 9:8 3. d i v i d e K K to B by 8; measure the same length i n front of K K : F F . FF-B : K K - B = 9:8 4. d i v i d e L L to B by 3; measure the same length i n front of L L : D D DD-B : L L - D = 4:3 5. d i v i d e K K to L L by 2; measure the same length i n front of K K : H H H H - B : K K - B = 19 : 18 6. d i v i d e D D to F F by 2 : E E DD-B fifth : E E - B : F F - B = 512 : 499 : 486

a n d f o u r t h w h i c h c a n be f o u n d w i t h i n t h e s y s t e m (set o u t i n a d i f f e r e n t o r d e r f o u n d i n e x t a n t G r e e k w r i t i n g s ) . E a c h s p e c i e s is d i s t i n g u i s h e d b y of i n t e r v a l s w i t h i n i t . T h e i n t e r v a l of t h e f o u r t h , f o r e x a m p l e , B-E, C-F, D - G , E-A. and the occurs Since, D-Git

f r o m that

arrangement

b e t w e e n five p a i r s of n o t e s , m o d e r n e q u i v a l e n t s A-D,

h o w e v e r , t h e s e m i t o n e f a l l s at the s a m e p o i n t i n t h e t e t r a c h o r d f o r A-D

446

V. Plainchant

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Music

Theory

T A B L E V . 2 . 1 . G r e a t e r a n d Lesser Perfect S y s t e m , D i a t o n i c G e n u s Tetrachord Pitch-name Medieval equivalent System a 8 f e d c b a G F E D C B A

Greater hyperboleon

Perfect

"nete hyperboleon paranete hyperboleon trite hyperboleon mete diezeugmenon paranete diezeugmenon trite diezeugmenon paramese ~mese lichanos meson parhypate meson hypate meson lichanos h y p a t o n parhypate hypaton -hypate hypaton proslambanomenos
:

diezeugmenon

meson

hypaton

Lesser Perfect synemmenon

System d c bb a G F E D C B A

'nete s y n e m m e n o n paranete s y n e m m e n o n trite s y n e m m e n o n : mese lichanos meson parhypate meson = hypate meson lichanos hypaton parhypate hypaton '-hypate hypaton proslambanomenos

meson

hypaton

f o r m s t h e m i d d l e s t e p o f t h e t h r e e a n d at t h e s a m e p o i n t i n t h e t e t r a c h o r d f o r a n d E-A, fourth, fifth,

B-E

t h e r e a r e o n l y t h r e e d i f f e r e n t species o f f o u r t h . I n E x . V . 2 . 2 t h e s p e c i e s of a n d octave are g i v e n w i t h h y p o t h e t i c a l e q u i v a l e n t m o d e r n p i t c h e s , a n d added the names of t h e e i g h t o c t a v e species. (Boethius

the s e m i t o n e s a r e m a r k e d w i t h t h e n u m b e r of t h e step at w h i c h t h e y o c c u r . T o t h i s e x a m p l e h a v e also b e e n a c t u a l l y sets t h e s e o u t i n a d i f f e r e n t w a y , i m a g i n i n g t h e m a l l t o o c c u r b e t w e e n t h e same t w o p i t c h e s w h e n t h e c o m p l e t e scale is i t s e l f t r a n s p o s e d t o d i f f e r e n t p i t c h l e v e l s : see NG x i i . 379.) T h e difference between this nomenclature a n d the c o m m o n m e d i e v a l o n e is d i s c u s s e d b e l o w .

J. E x . V . 2 . 2 . Species of intervals
species of 4th in diatonic genus:

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447

species of

5th

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species of octave in diatonic genus:

Hypodorian n /u \Li7 * 6 * m
9

Hypophrygian 7

Hypolydian 4 9 g ^ ' * "

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Lydian

Mixolydian

V.3.

A P I T C H - S Y S T E M

F O R

P L A I N C H A N T

(i) I n t r o d u c t i o n (ii) H u c b a l d of S a i n t - A m a n d (iii) T h e Enchiriadis (i) Introduction G r o u p of Treatises

E c c l e s i a s t i c a l c h a n t p l a y s n o p a r t i n a n y of the w r i t i n g s r e f e r r e d t o i n t h e last s e c t i o n , a n d the first e v i d e n c e that m u s i c t h e o r y a n d t h e p r a c t i c e of c h a n t w e r e o n a c o n v e r g i n g c o u r s e , so t o s p e a k , c o m e s w i t h the C a r o l i n g i a n r e n a i s s a n c e of t h e late e i g h t h a n d n i n t h c e n t u r i e s . It is k n o w n , f o r e x a m p l e , that A l c u i n , C h a r l e m a g n e ' s c h i e f a d v i s e r o n e d u c a t i o n a l m a t t e r s , c o n c e i v e d of a l i b e r a l arts p r o g r a m m e at t h e i m p e r i a l c o u r t a n d p r o b a b l y i n t r o d u c e d it at h i s a b b e y of S t M a r t i n ' s , T o u r s ; t h e r e is e v i d e n c e of it at O r l e a n s , u n d e r T h e o d u l f , a n d e s p e c i a l l y at F u l d a , u n d e r R h a b a n u s M a u r u s . The

r e v i v a l of c l a s s i c a l l e a r n i n g w a s e x a c t l y c o n t e m p o r a r y w i t h t h e e s t a b l i s h m e n t R o m a n l i t u r g y a n d its c h a n t i n t h e e m p i r e .

of t h e next Musica 875),

N e v e r t h e l e s s , o r i g i n a l n e w w r i t i n g a b o u t m u s i c t h e o r y is n o t f o u n d u n t i l t h e generations disciplina of s c h o l a r s , b e g i n n i n g w i t h A u r e l i a n of R e o m e , w h o s e treatise

is u s u a l l y d a t e d r . 8 5 0 . A n o t h e r g r o u p o f s c h o l a r s w a s c o n n e c t e d i n v a r i o u s

ways w i t h t h e c o u r t of C h a r l e s the B a l d ( 8 2 3 - 7 7 , k i n g f r o m 8 4 0 , e m p e r o r f r o m

a n d t h e s c h o o l s at S a i n t - A m a n d , L a o n , R e i m s , a n d A u x e r r e . T h e s e are J o h a n n e s S c o t u s E r i u g e n a ( c . 8 1 0 - c . 8 7 7 ) , R e m i g i u s of A u x e r r e ( c . 8 4 1 - r . 9 0 0 ) , a n d H u c b a l d of S a i n t - A m a n d (c.840-930). (Musica psalmis enchiriadis, modulandis) Scolica R e g i n o of P r i i m , w r i t i n g at t h e t u r n of t h e c e n t u r y , musica, a n d the Enchiriadis a n d t h e Commemoratio enchiriadis, brevis de tonis the et a n o n y m o u s t r e a t i s e k n o w n as Alia g r o u p of t r e a t i s e s

c o m p l e t e w h a t is a l t o g e t h e r a v e r y i m p o r t a n t , e v e n a s t o n i s h i n g

a c h i e v e m e n t i n c r e a t i n g a b o d y of n e w m u s i c t h e o r y , b o r r o w i n g o c c a s i o n a l l y f r o m t h e a u t h o r i t i e s o f t h e past b u t o f t e n s t a r t l i n g l y i n d e p e n d e n t , a l l d a t a b l e to t h e s e c o n d h a l f of the n i n t h c e n t u r y . J o h a n n e s S c o t u s E r i u g e n a ( o r J o h n S c o t ) a n d R e m i g i u s of A u x e r r e left n o m u s i c treatise i n t h e n o r m a l s e n s e . J o h a n n e s was b o r n i n I r e l a n d a b o u t 8 1 0 a n d c a m e to F r a n c i a a b o u t 8 4 5 . H e is t h o u g h t t o h a v e t a u g h t g r a m m a r a n d d i a l e c t i c at t h e c o u r t of C h a r l e s t h e B a l d ( t h o u g h t h e e x i s t e n c e o f a f o r m a l p a l a c e - s c h o o l is n o t s e c u r e : McKitterick 1983, 213-14, where Compiegne is p r o p o s e d as C h a r l e s ' s see favourite

p a l a c e ) . H e w a s p e r h a p s t h e o n l y s c h o l a r of h i s age w h o h a d a m a s t e r y of G r e e k , a n d i n the e a r l y 8 6 0 s h e t r a n s l a t e d s e v e r a l G r e e k w o r k s f o r the k i n g . M u s i c is t r e a t e d i n John's w o r k o n l y p a r e n t h e t i c a l l y i n his m a s t e r w o r k o n transcendental Periphyseon o r De divisione naturae, and otherwise philosophy, on only i n his c o m m e n t a r y 142 f f . ) .

M a r t i a n u s C a p e l l a . M a r t i a n u s ' w o r k s e e m s first to h a v e b e c o m e k n o w n a g a i n d u r i n g C h a r l e s ' s r e i g n , a f t e r a l o n g p e r i o d of o b l i v i o n (see H u g l o 1975, also c o m p o s e d a c o m m e n t a r y o n i t . ( O n J o h n see L u t z 1939, 1976, C o n t r e n i 1 9 7 8 ; (ii) Hucbald of o n R e m i g i u s see L u t z 1956, 1957, Remigius Uhlfelder B o w e r 1971,

1962-5.)

Saint-Amand

Editions: G S i ; B a b b 1978; T r a u b 1989. Literature: M u l l e r 1884; P o t i r o n 1957; W e a k l a n d 1956, 1959; C h a r t i e r 1973, H u c b a l d ' s t r e a t i s e De harmonica institutione (the t i t l e is a c t u a l l y G e r b e r t ' s )

1987. occupies

a key p o s i t i o n a m o n g t h e s e w r i t i n g s , not b e c a u s e it w a s the e a r l i e s t o r the b e s t k n o w n ( r e l a t i v e l y f e w c o p i e s are k n o w n ) , b u t b e c a u s e it sets o u t m o s t c l e a r l y t h e w a y i n w h i c h c l a s s i c a l t h e o r y c o u l d b e e x p l a i n e d w i t h the a i d of t h e c h a n t r e p e r t o r y , and c o u l d i n t u r n s u p p l y a n i n t e l l e c t u a l f o u n d a t i o n f o r a b e t t e r u n d e r s t a n d i n g of c h a n t . H u c b a l d h a d a m o n a s t i c e d u c a t i o n , at S a i n t - A m a n d , N e v e r s , a n d S a i n t - G e r m a i n at A u x e r r e , w h e r e he w a s a f e l l o w s t u d e n t of R e m i g i u s of A u x e r r e . H e r e t u r n e d to S a i n t A m a n d as m a s t e r of t h e s c h o o l , f o u n d e d a n o t h e r s c h o o l at S a i n t - B e r t i n , a n d i n 883 was c a l l e d w i t h R e m i g i u s to r e v i v e the c a t h e d r a l s c h o o l at R e i m s . H i s r e m a i n i n g y e a r s w e r e s p e n t m a i n l y at S a i n t - A m a n d .

3.

A Pitch-System

for

Plainchant

449

It m a y w e l l h a v e b e e n a m o n g the c i r c l e of R e m i g i u s a n d H u c b a l d t h a t e x a m p l e s of plainchant were first used to illustrate theoretical concepts. Remigius, in his fifth c o m m e n t a r y o n M a r t i a n u s C a p e l l a , g l o s s i n g M a r t i a n u s ' d e f i n i t i o n of t h e (Tibi Oculi over dixit mei cor meum a n d Deus in adiutorium meum symphoniae

( c o n s o n a n c e s ) , q u o t e s t h r e e i n t r o i t s to i l l u s t r a t e t h e i n t e r v a l s of t h e f o u r t h a n d semper

both begin with a rising fourth, In this the

w i t h a r i s i n g fifth). H u c b a l d g o e s f a r b e y o n d t h i s , h o w e v e r , c i t i n g p a s s a g e s to i l l u s t r a t e i n t e r v a l s a n d s c a l e - s e g m e n t s .

sixty chant

m o n o c h o r d p l a y s n o p a r t . T h e i n t e r v a l s , f o r e x a m p l e , are n o t e s t a b l i s h e d a c c o r d i n g to t h e i r p r o p o r t i o n s i n t e r m s of l e n g t h o n the s t r i n g of t h e m o n o c h o r d ; H u c b a l d s i m p l y cites eighteen examples w h i c h illustrate nine different intervals i n ascending and d e s c e n d i n g m o t i o n . H e d o e s n o t at first n a m e t h e i n t e r v a l s i n q u e s t i o n , w i s h i n g o n l y to e s t a b l i s h t h e s i m p l e n o t i o n t h a t t h e r e are i n t e r v a l s of d i f f e r i n g s i z e . H e t h e n s h o w s h o w t h e l a r g e r i n t e r v a l s c o n s i s t of c o m b i n a t i o n s of t h e t o n e a n d s e m i t o n e . T h e intervals w h i c h o c c u r i n the chant repertory are: s e m i t o n e , tone, m i n o r a n d t h i r d , perfect f o u r t h , t r i t o n e , perfect fifth, minor and major sixth. consonant T h e r u d i m e n t s w h i c h H u c b a l d is n e x t at p a i n s to d e m o n s t r a t e a r e : t h e nine major

i n t e r v a l s of t h e f o u r t h , fifth, o c t a v e , o c t a v e p l u s f o u r t h , o c t a v e p l u s fifth, a n d d o u b l e o c t a v e ; a n d t h e d i f f e r e n c e b e t w e e n a t o n e a n d a s e m i t o n e . I n t h e l a t t e r c o n n e c t i o n he cites t w o e x a m p l e s G-F-E-D-C. of c h a n t passages w h i c h r u n t h r o u g h a h e x a c h o r d , with the as e m i t o n e i n t h e m i d d l e : i n m o d e r n n o t a t i o n C-D-E-F-G-a a n d then the reverse,

T h i s c o r r e s p o n d s , says H u c b a l d , t o t h e a r r a n g e m e n t of s t r i n g s o n t h e V.3.1).

s i x - s t r i n g e d c i t h a r a , a n d he suggests that one s h o u l d practise w r i t i n g chants o n six l i n e s , r e p r e s e n t i n g t h e s e s t r i n g s , w i t h the s e m i t o n e i n t h e r i g h t p l a c e (see E x . E x . V . 3 . 1 . A n t i p h o n Ecce vere Israelita
it a
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est.

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S o far n o t h i n g has b e e n s a i d a b o u t p i t c h - n a m e s , This continues i n the next part of

n e i t h e r letters n o r the where he

Greek the

names f o u n d i n Boethius (whose w o r k H u c b a l d k n e w a n d occasionally referred to). H u c b a l d ' s treatise, describes a r r a n g e m e n t of t o n e s a n d s e m i t o n e s i n a t w o - o c t a v e s c a l e . T h e a r r a n g e m e n t actually

c o r r e s p o n d s to t h a t of t h e d i a t o n i c G r e a t e r P e r f e c t S y s t e m , w h i c h c a n b e by m o d e r n A-a\ water o r g a n s and other instruments follow a different arrangement,

represented one which

b u t H u c b a l d does n o t i m m e d i a t e l y state t h i s . H i s n e x t r e m a r k is that

c o r r e s p o n d s t o o u r m o d e r n m a j o r scale ( H u c b a l d a g a i n s i m p l y g i v e s t h e o r d e r o f t o n e s a n d s e m i t o n e s ) . N e x t h e e x p l a i n s t h e c l a s s i c a l a r r a n g e m e n t of t e t r a c h o r d s w i t h i n the d o u b l e - o c t a v e s c a l e . T h i s is h o w B o e t h i u s a r r a n g e s t h e m , he says, a n d h e g o e s o n to cite c h a n t s e g m e n t s w h e r e t h e n o t e s of t h e t e t r a c h o r d m a y be h e a r d , o n c e a g a i n i n descending and ascending order. H u c b a l d ' s n e x t s t e p is c r u c i a l l y i m p o r t a n t . H e s u g g e s t s w e n o w i m a g i n e t h e t w o octave scale f r o m t h e b o t t o m u p as a series of t e t r a c h o r d s of a d i f f e r e n t s p e c i e s , species w i t h s e m i t o n e i n t h e m i d d l e : m o d e r n A-B-C-D, A t this p o i n t H u c b a l d establishes D-E-E-G, he g i v e s a n e x a m p l e f r o m t h e c h a n t r e p e r t o r y w h e r e t h i s s c a l e - s e g m e n t t h e p l a c e of t h e s y n e m m e n o n B o e t h i u s t h i s w o u l d h a v e c o r r e s p o n d e d to m o d e r n d-c-db-a, hb-c (Ex. V . 3 . 2 ; compare T a b l e V . 2 . 1 above). the a n d so o n , a n d c a n be f o u n d . For G-ato tetrachord.

but for H u c b a l d , since

he has i n t r o d u c e d t h e d i f f e r e n t s p e c i e s of t e t r a c h o r d , it c o r r e s p o n d s t o m o d e r n In giving plainchant examples

E x . V . 3 . 2 . H u c b a l d ' s arrangement of ascending tetrachords

illustrate the d i s t i n c t i o n between d i e z e u g m e n o n a n d s y n e m m e n o n , the d i s j u n c t a n d c o n j u n c t t e t r a c h o r d s , h e a p p e a r s to i m p l y that m o d e r n b b a n dfc>tqc a n o c c u r p r a c t i c a l l y side b y s i d e . T h e v e r s i o n of the i n t r o i t Statuit ei dominus described by H u c b a l d w o u l d s e e m t o b e s o m e t h i n g l i k e E x . V . 3 . 3 . O n l y at t h i s p o i n t d o e s H u c b a l d g i v e t h e G r e e k n a m e s o f a l l t h e n o t e s i n t w o - o c t a v e scale, f o r w h i c h he n e c e s s a r i l y has to r e v e r t to the G r e e k tetrachords. ei as described bv H u c b a l d

E x . V . 3 . 3 . I n t r o i t Statuit

Sta

- tuit

e-i

do-

-mi

nus

tes

- ta-men-tum

pa - cis

et

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um

ut sit

il - li

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dig-ni

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in

ae-

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num.

It is n o w t h a t H u c b a l d i n t r o d u c e s the i d e a of p i t c h - s y m b o l s f o r t h e i n d i v i d u a l n o t e s of the s c a l e . A s h a s a l r e a d y b e e n e x p l a i n e d ( I V . 5 ) , t h e s y m b o l s he s u g g e s t s were other b o r r o w e d f r o m A l y p i u s v i a B o e t h i u s , but not subsequently taken u p b y any melody for m o d e 1 ( E x . V.3.4).

w r i t e r . O n c e a g a i n , c h a n t e x a m p l e s are g i v e n , a m o n g t h e m the p s e u d o - G r e e k t y p e

3. A Pitch-System E x . V . 3 . 4 . H u c b a l d ' s letter-notation

1

for

Plainchant

M PMP C F A l - l e - l u - ia

I M PC PM PC F N o - n e - n o - e - a - ne

A s H u c b a l d h i m s e l f says, the p o i n t has n o w been r e a c h e d to w h i c h e v e r y t h i n g l o o k e d f o r w a r d f r o m t h e b e g i n n i n g , a n d w e a r e a b o u t t o see ' t h e f r u i t w h i c h s p r i n g s f r o m t h e seed j u s t s o w n ' . E v e r y aspect o f m u s i c t h e o r y d i s c u s s e d so f a r , i n t e r v a l s , tetrachords, the c o m p l e t e scale, a n d the p i t c h - s y m b o l s , has been i l l u s t r a t e d b y chant e x a m p l e s , a n d t h i s i s t a n t a m o u n t t o s a y i n g that p l a i n c h a n t ' f i t s ' t h e s c a l e s y s t e m j u s t d e s c r i b e d . T h i s i s also t h e j u s t i f i c a t i o n f o r H u c b a l d ' s i n t r o d u c t i o n o f a d i f f e r e n t t e t r a c h o r d species, for the s e c o n d t e t r a c h o r d i n h i s a r r a n g e m e n t , m o d e r n D-E-F-G, c o r r e s p o n d s t o t h e f o u r finals o f t h e c h a n t r e p e r t o r y . H u c b a l d g i v e s t h e n a m e s o f t h e four 'modes or tropes, w h i c h w e call tones': protus, deuterus, tritus, and tetrardus; a n d he e x p l a i n s that each of t h e f o u r notes 'reigns' o v e r a n a u t h e n t i c a n d a plagal trope. H u c b a l d ' s last task is t h e n t o m a k e c l e a r t h e r e l a t i o n s h i p b e t w e e n t h e s t a r t i n g - n o t e of c h a n t s a n d t h e finals. A last b a t c h o f e x a m p l e s , n o t a t e d w i t h h i s p i t c h - s y m b o l s , i l l u s t r a t e s a series o f s t a r t i n g p i t c h e s i n c h a n t s ( n e a r l y a l l a n t i p h o n s ) w h i c h e n d o n e a c h o f t h e f o u r finals. F o r t h e t e t r a r d u s m o d e , f o r e x a m p l e , Ecce o n m o d e r n d, i s c i t e d , f o l l o w e d b y Beatus r, Dixit dominus domino meo, elegistis, b o t h s t a r t i n g o n a> a n d so o n . chants venter a n d Quomodo fiet, s t a r t i n g o n b> Erumpant monies sacerdos, a n d Beati starting quos both starting on

It is c l e a r t h a t H u c b a l d h a d e n v i s a g e d at least a l a r g e p a r t o f t h e c h a n t r e p e r t o r y as b e i n g c o m p a t i b l e w i t h the d i a t o n i c two-octave scale p l u s m i d d l e b b . If some notated w i t h his pitch-letters, H u c b a l d d o e s n o t say s o . O n e w o n d e r s , w e r e n o t c a p a b l e o f b e i n g fitted i n t o that f r a m e w o r k , a n d , b y i m p l i c a t i o n , o f b e i n g however, whether the G r e e k system was taken over s i m p l y because there was n o alternative. T h e m a i n r e s t r i c t i o n w a s t h a t t h e a l t e r n a t i v e c h r o m a t i c s t e p w a s a v a i l a b l e o n l y at o n e p o i n t , a f e w steps u p f r o m t h e finales: D-E-F-G . . . bb-b^-c. If a chant needed the a l t e r n a t i v e c h r o m a t i c step at a n o t h e r p o i n t r e l a t i v e t o t h e final, i t h a d t o b e e n v i s a g e d as o c c u p y i n g a d i f f e r e n t p l a c e i n t h e s y s t e m . T h i s is t h e c a s e , f o r i n s t a n c e , w i t h a n u m b e r of chants w h i c h n e e d t h e alternative just above t h e notated w i t h final a: a-bb-b^-c. final: they have to be that Nevertheless, once t h e idea g a i n e d a h o l d

chants stood i n this relationship to a clearly definable p i t c h - s y s t e m , a n d once teachers b e g a n to p i c k o u t c h a n t m e l o d i e s o n m o n o c h o r d s w h e r e t h e n o t e s o f t h e G r e e k s y s t e m w e r e m a r k e d o f f , p r e s s u r e m u s t h a v e b e e n felt t o e l i m i n a t e n o t e s w h i c h d i d n o t fit t h a t system. H u c b a l d w a s p r o b a b l y n o t t h e first t o m a k e t h i s c o n n e c t i o n b e t w e e n c h a n t a n d t h e o r y . A t a n y rate, Enchiriadis it i s also implicit i n t h e a n o n y m o u s Alia musica a n d the g r o u p o f treatises ( w h i c h has its o w n p i t c h n o t a t i o n , t h e d a s i a n s y m b o l s ) .

B u t n o w h e r e else is t h e c o n n e c t i o n so p a i n s t a k i n g l y a n d c l e a r l y e x p l a i n e d . A u r e l i a n of Reome, w r i t i n g about t h i r t y years earlier, has n o n o t i o n of a p i t c h - s y s t e m , and H u c b a l d ' s t r e a t i s e has t h e a u r a of i n t r o d u c i n g s o m e t h i n g r a d i c a l l y n e w . It is o n e of t h e c r u c i a l d o c u m e n t s of W e s t e r n m u s i c . H u c b a l d w a s u n d o u b t e d l y o n e of the l e a d i n g c h u r c h m e n a n d t e a c h e r s of h i s t i m e . L u c k i l y a n u m b e r of c o m p o s i t i o n s b y h i m a p p e a r to h a v e s u r v i v e d . H i s o f f i c e f o r S t P e t e r is t o b e f o u n d i n m a n y m e d i e v a l s o u r c e s (AS Quern verepia the m e l o d y B o s s e 1955, ( i i i ) The no. 39). of 439), and his G l o r i a trope-set laus o c c u r s i n s e v e r a l e a r l y m a n u s c r i p t s ( R o n n a u 1967, T r o p e n 2 4 0 , t o (See W e a k l a n d 1 9 5 9 . )

E n c h i r i a d i s Group

Treatises 1984. treatise Musica

G S I ; L e H o l l a d a y 1977; Bailey 1979; H a n s S c h m i d 1981; P h i l l i p s In the manuscript Paris, Bibliotheque Nationale, rnusica were able (see lat.

7202 the

enchiriadis its Scolica Muller

is a t t r i b u t e d to H u c b a l d , a n d i n G e r b e r t ' s e d i t i o n not o n l y that w o r k b u t a n d t h e t r e a t i s e k n o w n as Alia and Muhlmann (1914) w e r e also c r e d i t e d t o H u c b a l d . to disprove enchiriadis the attributions. decisive north-east (or the others), (1884)

M e a n w h i l e , n o o t h e r a u t h o r has a p p e a r e d to c l a i m Musica a n d e v e n its date a n d p r o v e n a n c e are u n c l e a r

P h i l l i p s 1984). U n t i l

e v i d e n c e t u r n s u p , it is p r o b a b l y safe to r e g a r d it as a w o r k w r i t t e n i n s e c o n d h a l f of t h e n i n t h c e n t u r y . Musica enchiriadis enchiriadis a n d t h e Scolica,

F r a n c e o r w e s t G e r m a n y , p e r h a p s e v e n w i t h i n t h e o r b i t of H u c b a l d ' s a c t i v i t y , i n t h e w h i c h s u b j e c t s s o m e of t h e t o p i c s i n Musica

t o m o r e e x t e n d e d d i s c u s s i o n i n d i a l o g u e f o r m , are m o s t f a m o u s f o r t h e i r

d e m o n s t r a t i o n of o r g a n u m of v a r i o u s t y p e s . H u c b a l d also r e f e r r e d to o r g a n u m b y w a y of i l l u s t r a t i n g t h e c o n c e p t of c o n s o n a n c e , a n d it has b e e n a r g u e d t h a t t h e m a i n p o i n t of the discussion of organum i n Musica examples, enchiriadis is to illustrate the perfect eight c o n s o n a n c e s ( F u l l e r 1 9 8 1 ) . I n t h e first part of t h e t r e a t i s e , author presents ecclesiastical eight chant on the other h a n d , the

w h i c h are e a c h t y p i c a l o f o n e of t h e

m o d e s . T h i s is d o n e b y m e a n s of t h e d a s i a n n o t a t i o n set o u t i n t h e fifth

o p e n i n g c h a p t e r s of t h e b o o k (see a b o v e , I V . 7 ) . E a c h p a i r of e x a m p l e s is p r e c e d e d b y a b r i e f f o r m u l a w h i c h r u n s t h r o u g h t h e n o t e s of o n e of the f o u r s p e c i e s of ( m o d e r n e q u i v a l e n t s a-d, b-E, c-F, d-G: it s h o u l d be s t r e s s e d t h a t , as i n H u c b a l d ' s

w o r k , t h e a l p h a b e t i c s e r i e s w i t h w h i c h w e are f a m i l i a r is n o t c o n n e c t e d w i t h t h e d a s i a n s y m b o l s ) . L i k e H u c b a l d ' s , the e x a m p l e s are set o u t o n l i n e s , t h o u g h h e r e t h e p i t c h o f e a c h l i n e is m a d e c l e a r b y a d a s i a s i g n . T h e e x a m p l e s f o r t h e p r o t u s m o d e are s h o w n i n Ex. V.3.5. Enchiriadis author, therefore, has an a p p r o a c h diametrically opposed to The

H u c b a l d ' s s u b t l e a n d g r a d u a l m e t h o d . T h e p i t c h - s y m b o l s a p p e a r at t h e v e r y start o f t h e w o r k so t h a t t h e a u t h o r c a n i m m e d i a t e l y i l l u s t r a t e w h a t e v e r c o n c e p t s h e c h o o s e w i t h o u t r e c o u r s e to m e m o r i z e d c h a n t s . W h i l e c h a n t is n o t t h e o n l y i n t e r e s t of the Enchiriadis brevis a u t h o r , the Commemoratio is a v e r i t a b l e p l a i n c h a n t p r i m e r . N o t a t e d i n d a s i a n n o t a t i o n , a n d t h u s fixed i n

3. A Pitch-System

for Plainchant enchiriadis

453

E x . V . 3 . 5 . E x a m p l e s i n protus mode f r o m Musica

Modulatio MJlePluJF/ ad principalem ia/7 .
5

protum modum

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Caeli cae-lorum lau-date Deum.

pitch

notation

over

a century

before

pitch

notation

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in

chant-books repertory,

t h e m s e l v e s , are nearly seventy m u s i c a l examples f r o m the s t a n d a r d c h a n t

i n c l u d i n g t h e p s a l m - t o n e f o r m u l a s w i t h their m u l t i p l e cadences, a n d also the d i d a c t i c m e l o d i e s associated w i t h the different m o d e s : N o e a n n e , N o e a i s , a n d so o n . T h e p l a n is r o u g h l y as f o l l o w s : (a) pseudo-Greek (Noeanne) melodies a n d m e l i s m a s ( n e u m a e ) a n d p s a l m tones

( G l o r i a p a t r i ) , p l u s o n e o r t w o a n t i p h o n i n c i p i t s , f o r t h e g o s p e l c a n t i c l e s i n e a c h of t h e e i g h t m o d e s ( ' u s e d w h e r e t h e p e r f o r m a n c e of a c h a n t is s l o w e r , as f o r i n s t a n c e f o r t h e gospel canticles, w h e n time allows'); (b) (c) (d) In eight p s a l m tones ' f o r the faster chants'; a series of tones w h i c h fall outside the regular e i g h t ; different final o r m e d i a n cadences for the p s a l m tones. this work the practical intent is p l a i n . T h e Commemoratio author even

i n t r o d u c e s a s i g n for t h e q u i l i s m a into the dasian notation a n d a d o t to separate note g r o u p s , a d a p t i n g it m o r e c l o s e l y t o t h e task of n o t a t i n g c h a n t e x a m p l e s 1979, 19). If the g i v e n examples are l e a r n e d , the student will have grounding i n office p s a l m o d y a n d the p s a l m - t o n e formulas governed (see B a i l e y a thorough by various

t y p i c a l a n t i p h o n s . T h i s is n o t m u s i c t h e o r y b u t m a t e r i a l f o r t h e t e a c h i n g of c h a n t . Even the additional commentary c o n f i n e s itself t o p r a c t i c a l m a t t e r s : t h e speed of s i n g i n g , t h e c o - o r d i n a t i o n o f a n t i p h o n a l c h o i r s , a n d so o n .

V.4. (>) () (iii) (iv) (v) (vi) (vii) (viii) (IX) (x) General A u r e l i a n of R e o m e

T H E

M O D E S

R e g i n o of P r u m Nomenclature G r e e k N a m e s and Octave Species Italian T h e o r y : T h e Dialogus de musica G u i d o of A r e z z o South G e r m a n Writers M o d a l Theory in South Germany Later Syntheses

P o w e r s , ' M o d e ' , NG. (i) General

T h e d e f i n i t i o n of ' m o d e ' , i n t h e f a m i l i a r sense of t h e e i g h t p l a i n c h a n t m o d e s , is n o t a s i m p l e m a t t e r . T h e L a t i n t e r m modus it c o m p e t e d w i t h tonus a n d tropus. itself was not u n i v e r s a l i n the M i d d l e A g e s , for the T h e r e is n o s p a c e h e r e f o r a d e t a i l e d e x a m i n a t i o n

of m e d i e v a l t e r m i n o l o g y a n d p r a c t i c e . F o r t h e sake of c l a r i t y , I h a v e r e g a r d e d

eight m o d e s as c a t e g o r i e s f o r t h e c l a s s i f i c a t i o n of m e l o d i e s a c c o r d i n g t o t h e i r t o n a l i t y ( i m p l y i n g r a n g e a n d p r o m i n e n t n o t e s , i n c l u d i n g r e c i t i n g n o t e s a n d final n o t e s ) a n d m e l o d i c t y p e . I t is a r g u a b l e t h a t t h e l a t t e r f e a t u r e w a s o r i g i n a l l y t h e d e c i d i n g f a c t o r . I t a p p e a r s t h a t it w a s t h e B y z a n t i n e s y s t e m of e c h o i w h i c h i n s p i r e d W e s t e r n m u s i c i a n s i n the C a r o l i n g i a n p e r i o d to c l a s s i f y t h e i r o w n c h a n t r e p e r t o r y , a n d a l s o p r o v i d e d s o m e technical terms for the classification. T h e e c h o i are p r i m a r i l y m e l o d i c t y p e s : 'In g e n e r a l , a h y m n c o m p o s e d i n a n e c h o s w i l l c o n t a i n a set of m e l o d i c t u r n s f o u n d i n o t h e r h y m n s c o m p o s e d i n t h e s a m e e c h o s ' ( V e l i m i r o v i c , ' E c h o s ' , NG). on a c h a n t types. The r e p e r t o r y n o t o r i g i n a l l y so c o n c e i v e d . W e s t e r n c h a n t eightfold division must therefore d i d not (motifs, There develop more

f o r m u l a e o r m e l o d y - t y p e s ) p e c u l i a r to that e c h o s ; a n d t h e s e s t r u c t u r a l d e v i c e s w i l l b e is p l e n t y of e v i d e n c e t o s u g g e s t t h a t t h e e i g h t - m o d e s y s t e m w a s i m p o s e d i n t h e W e s t w i t h i n an e i g h t - m o d e f r a m e w o r k , w i t h m e l o d i c material assignable to eight f a m i l i e s or have relied p r i m a r i l y on the abstract c r i t e r i a m e n t i o n e d a b o v e : r a n g e a n d p r o m i n e n t n o t e s . T h a t t h i s w a s so is s u g g e s t e d b y t h e c o n t r a s t b e t w e e n t w o m e d i e v a l w o r k s . T h e t o n a r y a t t r i b u t e d to R e g i n o of P r i i m ( r . 9 0 0 ) classes a n u m b e r of a n t i p h o n s i n a de p a r t i c u l a r m o d e b e c a u s e of t h e i r o p e n i n g m e l o d i c f o r m u l a , b u t w i t h t h e r e m a r k t h a t t h e y c l o s e i n a d i f f e r e n t m o d e . A b o u t a c e n t u r y l a t e r , the a u t h o r of t h e Dialogus musica states c a t e g o r i c a l l y t h a t t h e final note d e t e r m i n e s t h e m o d a l i t y : ' T o n u s v e l I n t h e n e x t s e c t i o n of t h e Dialogus, the

m o d u s est r e g u l a , q u a e de o m n i c a n t u i n fine d i i u d i c a t . ' ( ' A t o n e o r m o d e is a r u l e w h i c h c l a s s i f i e s e v e r y m e l o d y b y its final.') a u t h o r p r e s c r i b e s r a n g e s f o r m e l o d i e s i n the e i g h t m o d e s . I n so far as t h e s e t w o w r i t e r s

are t y p i c a l , t h e y suggest

that theoretical abstractions,

r u l e s of t h u m b f i n a l a n d

r a n g e r e p l a c e d m e l o d i c c h a r a c t e r i s t i c s as c r i t e r i a f o r d e t e r m i n i n g m o d a l i t y . W h i l e s u c h r u l e s of t h u m b w e r e n o d o u b t u s e f u l at a n e l e m e n t a r y l e v e l , m u s i c i a n s c o n t i n u e d to l o o k for m o r e c o m p r e h e n s i v e d e f i n i t i o n s . It was necessary, for e x a m p l e , t o i d e n t i f y t h e final, w h i c h c o u l d b e d o n e w i t h r e f e r e n c e to t h e i n t e r v a l s o n e i t h e r s i d e of it. T h u s D has a tone t h e n a s e m i t o n e b e l o w it, a n d a tone t h e n a s e m i t o n e above it, w h e r e a s E h a s t w o t o n e s b e l o w it a n d a s e m i t o n e t h e n a t o n e a b o v e , a n d so o n . T h i s f o c u s e d a t t e n t i o n o n the scale-segments around it: D resembles a, E w i t h i n w h i c h m e l o d i e s of the v a r i o u s m o d e s b, F resembles c i n this respect. There m o v e d . F u r t h e r m o r e , m o r e t h a n o n e n o t e m i g h t h a v e t h e s a m e p a t t e r n of i n t e r v a l s resembles d e v e l o p e d , therefore, a d i s c u s s i o n i n the theoretical literature about the tonal a f f i n i t y b e t w e e n notes a n d h e n c e b e t w e e n the m o d e s they g o v e r n e d . W h a t was h a p p e n i n g , w h e n s u c h a doctrine was d e v e l o p e d , was that an scale-segment (the h e x a c h o r d w a s the m o s t w i d e l y u s e d ) , with which abstract particular

m e l o d i e s c o u l d b e c o m p a r e d , r e p l a c e d a k n o w l e d g e of t h e i n d i v i d u a l m e l o d i e s o r m e l o d i c f a m i l i e s . W e c o u l d p o s t u l a t e t h r e e ( a m o n g m a n y ) s t a g e s : (i) T h e s i n g e r s a y s : ' T h i s m e l o d y ( l i k e its s i s t e r s i n t h e f a m i l y ) b e l o n g t o t h i s m o d e . . .'. (ii) T h e s i n g e r s a y s : ' T h i s c h a n t r e s e m b l e s t h e m e l o d y ' N o e a g i s ' , t h e r e f o r e b e l o n g s to t h i s m o d e . . .'. ( i i i ) T h e s i n g e r s a y s : ' T h i s c h a n t e n d s o n re of t h e h e x a c h o r d , t h e r e f o r e b e l o n g s t o t h e p r o t u s m o d e . . .'. I n t h e first stage t h e s i n g e r has to k n o w t h e m o d a l a s s i g n a t i o n o f a l l m e l o d i e s , o r at least of g r o u p s of s i m i l a r m e l o d i e s . I n t h e s e c o n d stage h e h a s t o k n o w t h e N o e a n n e m e l o d i e s a n d b e a b l e t o select t h e r i g h t o n e f o r c o m p a r i s o n . I n t h e t h i r d stage he has t o m a t c h h i s c h a n t w i t h b u t a s i n g l e For chants with p s a l m verses scale-segment. formulas (introits and T h e d e f i n i t i o n of m o d a l i t y w a s n o t a p u r e l y t h e o r e t i c a l e x e r c i s e i n t h e M i d d l e A g e s . s u n g to s i m p l e r e c i t a t i o n c o m m u n i o n s at m a s s , a n t i p h o n s d u r i n g t h e o f f i c e ) t h e s e l e c t i o n of p s a l m t o n e a n d its c a d e n c e d e p e n d e d o n t h e t o n a l c h a r a c t e r of t h e i n t r o i t / c o m m u n i o n / a n t i p h o n . It w a s c o n v e n i e n t t o b e a b l e to c l a s s i f y e a c h c h a n t i n o n e o f t h e e i g h t m o d e s , so t h a t selection of the c o r r e s p o n d i n g p s a l m tone c o u l d f o l l o w as a matter of the course.

W a t e r t i g h t r u l e s f o r d e t e r m i n i n g m o d a l i t y t h e r e f o r e f a c i l i t a t e d t h e e x e c u t i o n of a l a r g e p r o p o r t i o n of t h e c h a n t r e p e r t o r y . I n these c i r c u m s t a n c e s w e c a n e a s i l y u n d e r s t a n d h o w R e g i n o of P r u m , at t h e e n d of t h e n i n t h c e n t u r y , w a s i n s p i r e d t o p u t p e n t o p a p e r b y w h a t he d e s c r i b e s as w i d e s p r e a d c o n f u s i o n i n s i n g i n g c a u s e d b y t h e i m p r o p e r s e l e c t i o n of p s a l m t o n e s ( ' p r o p t e r d i s s o n a n t i a m t o n i ' ) . N o n e of t h e s e c o n c e r n s w a s d i r e c t l y c o n n e c t e d w i t h t h e h e r i t a g e o f c l a s s i c a l m u s i c t h e o r y . B u t as s o o n as c h a n t c o u l d b e t h o u g h t of i n t e r m s of t h e p i t c h e s of t h e G r e e k t w o - o c t a v e s y s t e m , c o n c e p t s s u c h as s p e c i e s of o c t a v e , late n i n t h - c e n t u r y w r i t i n g s b e a r w i t n e s s . fifth, a n d f o u r t h c o u l d be e m p l o y e d i n d e f i n i t i o n s of m o d a l i t y . T h e t w o d e v e l o p m e n t s w e n t h a n d i n h a n d , as

(ii) Aurelian

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G S i ; G u s h e e 1963 and C S M 2 1 ; Ponte 1961, 1968. T h e earliest of t h e n i n t h - c e n t u r y w r i t e r s , A u r e l i a n of R e o m e , s h o w s v e r y clearly h o w gross a d i v i s i o n e x i s t e d b e t w e e n t h e h e r i t a g e of c l a s s i c a l m u s i c t h e o r y a n d t h e n e e d s o f p r a c t i c a l m u s i c i a n s . Wis Musica disciplina appears to have b e e n w r i t t e n i n the decade (not far f r o m b e f o r e 8 5 0 f o r B e r n a r d , a b b o t o f t h e m o n a s t e r y of S a i n t - J e a n - d e - R e o m e

L a n g r e s i n e a s t e r n F r a n c e ) . F r o m t h e c o m p l i c a t e d m a k e - u p a n d t r a n s m i s s i o n i t is n o t clear h o w m u c h A u r e l i a n h i m s e l f m a y h a v e c o n t r i b u t e d t o t h e t r e a t i s e i n i t s f u l l e s t f o r m . ( F o r e x a m p l e , t h e s t a r t i n c h . 8, ' D e o c t o t o n i s ' , is f o u n d s e p a r a t e l y e l s w h e r e , b e i n g a t t r i b u t e d i n a thirteenth-century source, a n d thereafter b y G e r b e r t , to A l c u i n . W h i l e that a t t r i b u t i o n is false, A u r e l i a n m a y not have w r i t t e n the passage. Other m a t e r i a l is b o r r o w e d , s o m e t i m e s w i t h o u t m u c h a d a p t a t i o n , f r o m B o e t h i u s , C a s s i o d o r u s , a n d B e d e . ) T h e b e s t - k n o w n p a s s a g e s i n t h e treatise are t h o s e w h e r e A u r e l i a n e x p l a i n s that Charlemagne added four modes to the u s u a l eight because the Greeks (Byzantines) boasted that they h a d perfected the eight m o d e s ; w h e r e u p o n the G r e e k s added f o u r m o r e t h e m s e l v e s ; a n d h o w A u r e l i a n asked a G r e e k the m e a n i n g of the Noeanne syllables. Byzantine chant (This actually constitutes organization.) some of o u r e a r l i e s t important evidence that had a modal More f o r the present

d i s c u s s i o n are t h e s u c c e e d i n g chapters, w h e r e he discusses m e l o d i e s b e l o n g i n g to the (eight) different m o d e s i n p u r e l y practical terms. A u r e l i a n ' s p a r t i c u l a r c o n c e r n is t h e l i n k b e t w e e n m a i n c h a n t a n d v e r s e i n i n t r o i t s , o f f e r t o r i e s , a n d c o m m u n i o n s at m a s s a n d r e s p o n s o r i e s a n d a n t i p h o n s of t h e o f f i c e . T h e c l o s e s t t h e m a t i c p a r a l l e l is w i t h t h e Commemoratio brevis, b u t t h e m a n n e r of p r e s e n t a t i o n is e n t i r e l y d i f f e r e n t , f o r A u r e l i a n d i s p o s e s o f n o p i t c h - n o t a t i o n . H e begins, f o r e x a m p l e , b y d e s c r i b i n g the three cadences f o r the p s a l m tone used w i t h mode 1 introits: T h e first authentic mode has several varietates. F o r the introits it contains three varietates, the first of w h i c h is t h i s : A n t . Gaudete in domino semper. T h e e n d of the verse flows d i r e c t l y into the b e g i n n i n g (of the introit), and equals it, a n d is neither p u s h e d u p w a r d s nor pressed d o w n . T h i s c o r r e s p o n d s to t h e m o d e r n Solesmes/Vatican r e a d i n g , w h e r e t h e cadence f o r the p s a l m verse falls o n D described thus: T h e second is t h i s : A n t . Iustus es domine, whose psalm verse e n d i n g is raised u p o n high to coincide w i t h the b e g i n n i n g (of the i n t r o i t ) . T h e t h i r d is t h i s : A n t . Suscepirnus Deus, where the last syllable of the psalm verse dwells a little longer than is the case w i t h the first and second (varietates), and is then raised up on high to fit well w i t h the b e g i n n i n g of the i n t r o i t . T h e t h i r d c a d e n c e is e v i d e n t l y t h a t w h i c h w e find i n t h e S o l e s m e s / V a t i c a n b o o k s , a l t h o u g h t h e d e l a y o n F is j u s t as l o n g f o r Gaudete in domino. F o r the second introit,
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t h e s t a r t i n g - n o t e f o r t h e i n t r o i t . T h e o t h e r t w o j o i n s are

h o w e v e r , t h e S o l e s m e s / V a t i c a n b o o k s h a v e the s a m e c a d e n c e as f o r Gaudete; h a s a d i f f e r e n t o n e i n m i n d ( r a r e l y f o u n d i n t h e m o d e r n b o o k s : see Salus t h r e e c a d e n c e s a n d b e g i n n i n g s of t h e i n t r o i t s are g i v e n i n E x . V . 4 . 1 .

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It is n o t a l w a y s c l e a r to us n o w w h y t h i s o r t h a t c a d e n c e s h o u l d h a v e b e e n s e l e c t e d , a n d a g o o d d e a l of v a r i e t y e x i s t s b e t w e e n m e d i e v a l s o u r c e s i n t h i s r e s p e c t . E v i d e n t l y Aurelian had also considered the matter, though his explanation is far from convincing: Because of this the m i n d of the eager reader is t r o u b l e d w h y one single tone s h o u l d have so m a n y sorts of varieties (varietatum modos) . . . H e w h o wishes to k n o w e v e r y t h i n g else about this science, h i m we send to ' m u s i c a ' (that is the science of m u s i c ) , and if he washes to become versed i n the latter, let h i m t u r n his eyes to the consonance of p r o p o r t i o n s and the contemplation of intervals, and also to the certitude of n u m b e r s . D e s p i t e t h i s p r o n o u n c e m e n t , A u r e l i a n t h e n p r o c e e d s to o f f e r a m o r e d o w n - t o - e a r t h e x p l a n a t i o n . T h i s is d o n e w i t h r e f e r e n c e to the tonus of t h e s e i n t r o i t s , w h i c h s e e m s to c o r r e s p o n d to t h e c h i e f r e c i t i n g n o t e , a. Suscepimus o n the s e c o n d . at least s i n c e t h e t i m e t h e y w e r e f i r s t I n Gaudete, he says, the t o n u s is r e a c h e d o n it o c c u r s o n t h e f i r s t s y l l a b l e , i n t h e t h i r d s y l l a b l e of t h e i n t r o i t , ' - t e ' ; i n Iustus

I t h a s p u z z l e d m o d e r n r e a d e r s that A u r e l i a n s h o u l d i n c l u d e o f f e r t o r i e s i n h i s d i s c u s s i o n , f o r t h e verses of these c h a n t s , r e c o r d e d i n n o t a t i o n (late n i n t h c e n t u r y ) h a v e b e e n s u n g t o e l a b o r a t e m e l o d i e s . Y e t A u r e l i a n says: ' Q u o d versus offertoriarum per tonos i n ipsis i n t r o m i t t a n t u r , cantor n e m o (est) q u i d u b i t e t . ' ( ' N o cantor d o u b t s that the verses of the offertories are a l l o w e d t o pass i n t o t h e o f f e r t o r i e s t h r o u g h t h e t h e t o n e s / ) T h i s h a s b e e n i n t e r p r e t e d to m e a n t h a t o f f e r t o r y verses are s u n g to p s a l m t o n e s . B u t A u r e l i a n n e v e r d e s c r i b e s c a d e n c e f o r m u l a s f o r t h e o f f e r t o r y v e r s e s , as he d o e s f o r t h e i n t r o i t s a n d c o m m u n i o n s . H i s r e m a r k s r e s e m b l e t h o s e a b o u t t h e o f f i c e r e s p o n s o r i e s , a n d c o n c e r n t h e p o i n t at w h i c h t h e v e r s e r e t u r n s to t h e r e s p o n s e : does it fit m u s i c a l l y a n d m a k e s e n s e t e x t u a l l y ?

B y tonus i n t h e a b o v e p a s s a g e , t h e r e f o r e , A u r e l i a n m a y s i m p l y h a v e m e a n t t h e r e c i t i n g n o t e , o r o t h e r i m p o r t a n t n o t e , w h i c h h a d to be b o r n e i n m i n d w h e n e f f e c t i n g r e t u r n to t h e r e s p o n s e . A t t h e e n d of h i s t r e a t i s e A u r e l i a n i n c l u d e s s o m e e d i f y i n g r e m a r k s a b o u t t h e e t h i c a l p o w e r of m u s i c , a n d r e l a t e s , a m o n g other stories, one about a monk from SaintV i c t o r , n e a r L e M a n s , w h o m a d e a p i l g r i m a g e to the b a s i l i c a of S t M i c h a e l o n M o n t e G a r g a n o o n t h e A d r i a t i c coast of I t a l y . T h e r e he w a s b l e s s e d b y h e a r i n g a n g e l s s i n g the r e s p o n s o r y Gives apostolorurn V . Ernitte domine spiriturn. T h e m o n k w a s a b l e to Ecclesiae s i n g t h i s f r o m m e m o r y to t h e ' c l e r k s of the R o m a n c h u r c h ' ( ' R o m a n a e c l e r i c i s ' ) , w h o c h a n g e d t h e v e r s e to In ornnern terrarn. particular borrowings chant from parallels the the way i n w h i c h the of late the

T h e way i n w h i c h A u r e l i a n can rest of his treatise with juxtaposes original driving

m o v e f r o m m u s i c ' s p o w e r o v e r b i r d s a n d d o l p h i n s to a l e g e n d a b o u t the o r i g i n s of a musical knowledge antiquity quite

o b s e r v a t i o n s o n t h e p r a c t i c e of p l a i n c h a n t . T h i s is a c l e a r i n d i c a t i o n of the force b e h i n d m u c h m e d i e v a l w r i t i n g o n m u s i c : the necessity p r a c t i c e , w i t h o r w i t h o u t r e f e r e n c e to ' m u s i c a ' i n the c l a s s i c a l s e n s e . (iii) Regino of Priirn

of d e f i n i n g c o d e s of

G S i ; H u s c h e n 1962; M . P . L e R o u x 1965; Chartier 1965; B o w e r 1971; B e r n h a r d 1979, Studien. S o m e t h i n g of t h e s a m e d i c h o t o m y is p r e s e n t i n t h e t r e a t i s e of R e g i n o of P r u m . Since

the s e c o n d h a l f o f t h e e i g h t h c e n t u r y , the m o n a s t e r y o f P r u m i n t h e E i f e l ( w e s t e r n G e r m a n y ) h a d b e e n s o m e t h i n g of a r o y a l f o u n d a t i o n . A n e w m o n a s t e r y c h u r c h is s a i d to h a v e b e e n d e d i c a t e d i n 7 9 9 b y P o p e L e o I I I i n C h a r l e m a g n e ' s p r e s e n c e . Emperor L o t h a r I d i e d there i n 855, h a v i n g a s s u m e d the m o n k ' s habit six days p r e v i o u s l y . A s m a n y as 3 0 0 m o n k s m a y h a v e l i v e d t h e r e at the peak of its e c c l e s i a s t i c a l a n d c u l t u r a l a c h i e v e m e n t . B u t it s u f f e r e d g r i e v o u s l y at the h a n d s of t h e N o r t h m e n i n 8 8 2 a n d 8 9 2 . Its r e c o v e r y w a s d u e to t h e l e a d e r s h i p of R e g i n o , a b b o t f r o m 8 8 2 to 8 9 9 . m a d e it t h e o b j e c t of p o l i t i c a l i n t r i g u e , h o w e v e r , a n d i n 899 Its w e a l t h Counts Gerhard and

M a t f r e d of H a i n a u l t f o r c e d R e g i n o to leave a n d h a d t h e i r b r o t h e r R i c h a r i u s , a m e r e b o y , m a d e a b b o t i n h i s p l a c e . R e g i n o r e m o v e d to T r i e r a n d p l a c e d h i m s e l f u n d e r t h e protection of A r c h b i s h o p R a t h b o d . H e a c c o m p a n i e d the a r c h b i s h o p o n visitations, r e s t o r e d t h e a b b e y o f S t M a r t i n , T r i e r , a n d d i e d i n t h e a b b e y of S t M a x i m i n i n 9 1 5 . R e g i n o ' s w r i t i n g s f a l l i n t o t h e T r i e r p e r i o d . T h e Epistola de harmonica institutione is c o u c h e d o n t h e f o r m of a letter t o R a t h b o d . It is l i n k e d to a t o n a r y w i t h the t i t l e ' O c t o t o n i d e m u s i c a e a r t i s c u m s u i s d i f f e r e n t i i s ' . I n a b o u t 9 0 6 h e w r o t e a b o o k of c a n o n l a w , De ecclesiasticis disciplinis, f o r use d u r i n g v i s i t a t i o n s , d e d i c a t e d to t h e p r i m a t e of t h e east F r a n k i s h c h u r c h a n d i m p e r i a l c h a n c e l l o r A r c h b i s h o p H a t t o of M a i n z . I n a b o u t 9 0 8 R e g i n o c o m p l e t e d a c h r o n i c l e of t h e w o r l d , d e d i c a t e d to B i s h o p A d a l b e r o of A u g s b u r g , t u t o r to t h e r o y a l c h i l d r e n . R e g i n o w a s o n e of the churchmen Aurelian. of his t i m e , a n d therefore a quite different figure f r o m the foremost obscure

An

a s s e s s m e n t of h i s Epistola

de

harmonica

institutione

a n d its t o n a r y is a g a i n

c o m p l i c a t e d by the t r a n s m i s s i o n . B o t h have c o m e d o w n i n a l o n g e r a n d a shorter f o r m . T h e t w o p r i n c i p a l s o u r c e s b o t h date f r o m t h e t e n t h c e n t u r y , b u t n e i t h e r s t e m s directly f r o m Regino. Brussels, Bibliotheque Royale 2 7 5 0 - 6 5 (connected s t a t e , b u t h a s a s h o r t v e r s i o n of the Epistola, musical matters. with the B e l g i a n m o n a s t e r y of S t a v e l o t ) a p p e a r s to t r a n s m i t R e g i n o ' s t o n a r y i n its o r i g i n a l one w h i c h restricts itself to p r a c t i c a l s e v e r a l c h a p t e r s of L e i p z i g , U n i v e r s i t a t s b i b l i o t h e k , R e p . I . 93 ( p r o b a b l y f r o m P r u m )

h a s a r e v i s e d v e r s i o n of t h e t o n a r y , a n d i n c l u d e s i n t h e Epistola John Scotus.

s p e c u l a t i v e m u s i c t h e o r y , w h i c h , as B o w e r ( 1 9 7 1 ) has s h o w n , d e p e n d o n t h e i d e a s of R e g i n o ' s t o n a r y is o n e of t h e largest to h a v e s u r v i v e d . T h i s p a i n s t a k i n g c o m p i l a t i o n h a s a l r e a d y b e e n m e n t i o n e d b e c a u s e of t h e n u m e r o u s c h a n t s w h i c h R e g i n o r e c k o n e d t o b e g i n i n o n e m o d e a n d e n d i n a n o t h e r . T h e w o r k is of t h e h i g h e s t v a l u e f o r o u r u n d e r s t a n d i n g of t h e m o d a l a s s i g n m e n t , b u t , d e s p i t e t h e Epistola, w e h a v e to s t u d y the t o n a r y itself to d i s c o v e r the p r i n c i p l e s i n v o l v e d . R e g i n o , l i k e A u r e l i a n before h i m , d o e s n o t d e f i n e w h a t c o n s t i t u t e s m o d a l i d e n t i t y . T o see h o w t h i s w a s a t t e m p t e d i n t h e Middle Ages we should first inspect the t e r m i n o l o g y d e v e l o p e d f r o m the ninth century onward. (iv) Nomenclature t r e a t i s e s , a n d A u r e l i a n of R e o m e b e f o r e t h e m , the terms are: r authentus jplagis r authentus . . [plagis [authentus . [plagis r authentus . {plagis , . , (modern D-mode)
N

H u c b a l d a n d t h e Enchiriadis t h e Commemoratio brevis, protus j deuterus tntus . tetrardus

were

a l r e a d y f a m i l i a r w i t h a n o m e n c l a t u r e f o r t h e e i g h t m o d e s . F o l l o w i n g t h e s p e l l i n g of

, . . , (modern L-mode)
r x

. . _ . , (modern r-mode) , . ~ , (modern G-mode)

x

T h e first w i t n e s s to t h i s t e r m i n o l o g y i n t h e W e s t is t h e ( i n c o m p l e t e )

Saint-Riquier Greeks a,

t o n a r y , P a r i s , B i b l i o t h e q u e N a t i o n a l e , lat. 1 3 1 5 9 , of t h e late e i g h t h o r n i n t h c e n t u r y . T h e t e r m s are d e r i v e d f r o m B y z a n t i n e p r a c t i c e , w i t h t h e d i f f e r e n c e t h a t t h e deuteros, p l a g i o s b, etc.) d e s i g n a t e d a, b, c, d, and four plagal ones, By good fortune d i d n o t use t h e w o r d ' a u t h e n t i c ' : t h e r e w e r e f o u r p r i n c i p l e m o d e s ( e c h o s p r o t o s , e c h o s designated plagios of t h e p l a g i o s c, a n d p l a g i o s d. evidence Byzantine

n o m e n c l a t u r e s u r v i v e s f r o m a b o u t a c e n t u r y b e f o r e its a d o p t i o n i n t h e W e s t . T h e r e is m a n u s c r i p t w i t n e s s t o its use f r o m p o s s i b l y as e a r l y as t h e s e v e n t h c e n t u r y (see H u g l o 1975, 1 4 0 ) . T h e p r o p e r c h a n t s of t h e o f f i c e of S a t u r d a y e v e n i n g a n d S u n d a y i n t h e oktoechos. B y z a n t i n e rite were o r g a n i z e d i n an eight-week m o d a l c y c l e , each week h a v i n g chants i n a d i f f e r e n t m o d e . S u c h c h a n t s w e r e c o p i e d i n t h e b o o k k n o w n as t h e

C o d y (1982,

1 0 3 ) h a s r e p o r t e d a M e l k i t e S y r i a n w i t n e s s of t h e s e v e n t h o r e i g h t h

c e n t u r y to t h e m o d a l o r d e r i n g of S u n d a y chants. H u s m a n n (1971) has d i s p r o v e d t h e earlier belief that t h e h y m n s of S e v e r u s of A n t i o c h , d . 538, were a r r a n g e d i n a n oktoechos. M e d i e v a l tradition attributed the composition (more likely, organization) of t h e o k t o e c h o s to S t J o h n of D a m a s c u s (d. r.749). S t r u n k (1960) accepts the a u t h o r s h i p o f S t T h e o d o r e S t u d i t e s a n d a date o f 7 9 4 - 7 f o r o n e p a r t i c u l a r e a r l y c y c l e of a n t i p h o n s o f t h e o k t o e c h o s , w h i c h also a r g u e s f o r t h e e s t a b l i s h m e n t o f t h e s y s t e m i n the e i g h t h c e n t u r y , if n o t earlier. H u g l o ( 1 9 7 8 , 1 3 8 - 4 2 ) h a s s u g g e s t e d t h a t t h e c o i n i n g o f t h e t e r m authentus caused b y the difficulty of a n d tonus were already finding a n a p t t r a n s l a t i o n f o r echos, with slightly different s i n c e modus, invested meanings. was tropus,

T h e nearest

e q u i v a l e n t t o echos w o u l d h a v e b e e n tonus,

w h i c h i n t h e n i n t h c e n t u r y is generally

used of t h e eight m o d e s of p l a i n c h a n t : but there were o n l y four e c h o i . A s o l u t i o n can be f o u n d i n H u c b a l d , w h o s p e a k s o f t h e f o u r finales ( o u r / ) , E, E, a n d G) w h i c h m a k e the a p p r o p r i a t e e n d i n g s f o r ' q u a t u o r m o d i s vel t r o p i s , q u o s n u n c t o n o s d i c u n t ' , a n d each i n t h e i r t u r n r e i g n over ' g e m i n o s . . . tropos'. S o f o u r 'tones' c o m m a n d eight ' t r o p e s ' . B u t H u c b a l d ' s u s a g e is n o t t h a t o f t h e m a j o r i t y o f e a r l y t r e a t i s e s a n d t o n a r i e s , w h i c h prefer to speak of eight tones: subsidiary or 'plagal'. A n o t h e r s o l u t i o n i s t h a t f o u n d i n c h . 8 o f Musica enchiriadis, where chant incipits in each of t h e eight m o d e s are presented u n d e r the title: ' M o d u l a t i o a d p r i n c i p a l e m p r o t u m m o d u m et s u b i u g a l e m e i u s ' ( ' M e l o d i c p h r a s e s f o r t h e p r i n c i p a l p r o t u s m o d e a n d i t s s u b o r d i n a t e ' ) . T h a t i s h o w ' m o d e ' is c o m m o n l y u s e d n o w a d a y s ( a n d i n t h i s b o o k ) . B u t t h i s i s n o t t h e o n l y t e r m i n o l o g y f o u n d i n Musica A t k i n s o n ( 1 9 8 9 , 'Modi) has recently stressed, enchiriadis, w h i c h , as illustrates v i v i d l y t h e difficulties of four p r i n c i p a l o r 'authentic' ones a n d four

m a r s h a l l i n g terms b o r r o w e d f r o m classical theory. W e still have t h e same sort of c o n t r a d i c t i o n s : ' t o n e ' c a n m e a n t h e i n t e r v a l of a t o n e , a n y s i n g l e n o t e , a p s a l m t o n e , o r e v e n (a m e a n i n g w i t h n o a n c i e n t e t y m o l o g y ) q u a l i t y o f s o u n d ( h a r s h , s o f t , e t c . ) . B o e t h i u s u s u a l l y u s e d t h e w o r d tonus t o m e a n t h e i n t e r v a l o f a w h o l e t o n e . H e w a s a w a r e , h o w e v e r , t h a t b o t h tonus a n d tropus w e r e u s e d i n c l a s s i c a l G r e e k t h e o r y (as t h e y w e r e b y l a t e r w r i t e r s s u c h as M a r t i a n u s a n d C a s s i o d o r u s ) t o m e a n t h e v a r i o u s t r a n s p o s i t i o n s o f t h e d o u b l e - o c t a v e s c a l e , w h i c h , i f o n e t o o k a n o c t a v e c r o s s - s e c t i o n at any constant point, bore would display the different names octave species. T h e different modus. transpositions the Greek Hypodorian, H y p o p h r y g i a n , a n d so o n .

B o e t h i u s ' p r e f e r r e d t e r m f o r t h e t r a n s p o s i t i o n scales, h o w e v e r , w a s It i s n o t s u r p r i s i n g , t h e r e f o r e ,

that n i n t h - c e n t u r y w r i t e r s , i n h e r i t i n g a p a r t i a l l y

c o n f l i c t i n g t e r m i n o l o g y f r o m late a n t i q u i t y , a n d also n e e d i n g t o a c c o m m o d a t e t h e n e w concept of t h e eight m o d e s of plainchant, s h o u l d display some inconsistency. I n the later p a r t o f Musica modus enchiriadis, p r i n c i p a l l y c o n c e r n e d w i t h v e r t i c a l i n t e r v a l s , tonus is restricted to t h e m e a n i n g of a n interval of a whole tone. H e n c e the establishment of as t h e t e r m f o r t h e p l a i n c h a n t m o d e s . I n t h e first p a r t o f h i s t r e a t i s e , h o w e v e r , a u t h o r h a s h i m s e l f u s e d tonus f o r p l a i n c h a n t m o d e , a n d is o b l i g e d t o t h e Enchiriadis

change course i n m i d s t r e a m (actually, i n c h . 8).

(v)

Greek Names

and

Octave

Species o c c u r s o n e of t h e e a r l i e s t a p p l i c a t i o n s o f t h e n a m e s of

I n c h . 9 o f Musica

enchiriadis

G r e e k peoples to the m o d e s : M o d e s or tropes [the uncertainty of terminology is still e v i d e n t ! ] are the species of m e l o d y [species modulationum] w h i c h were discussed above, such as the protos autentus or plagis, deuteros autentus or plagis, or the D o r i u s , F r i g i u s , L i d i u s m o d e , etc. I t is t h e t r e a t i s e k n o w n as Alia musica, h o w e v e r , w h i c h gives the first c o m p r e h e n s i v e combined

e x p o s i t i o n of t h i s t e r m i n o l o g y . T h e a u t h o r , o r e d i t o r , a p p e a r s t o h a v e

m a t e r i a l f r o m t w o p r e v i o u s w r i t e r s w i t h h i s o w n o b s e r v a t i o n s (see M u h l m a n n 1 9 1 4 , C h a i l l e y 1 9 6 5 , a n d H e a r d 1 9 6 6 ) , as t h e t i t l e p e r h a p s i n d i c a t e s : ' A l i a m u s i c a ' m a y b e n o t L a t i n f o r ' a n o t h e r t r e a t i s e o n m u s i c ' b u t G r e e k (halia) f o r 'a c o m p i l a t i o n about m u s i c ' ( H e a r d 1 9 6 6 ) . A s f a r as m o d a l t e r m i n o l o g y is c o n c e r n e d , t h e a u t h o r s i m p l y assigns the G r e e k names to the eight plainchant m o d e s w i t h o u t regard to t h e i r f o r m e r n a t u r e . I n B o e t h i u s the n a m e s d e n o t e d t r a n s p o s i t i o n scales, t h r o u g h w h i c h the seven species of octave c o u l d be d i s p l a y e d ; no internal h i e r a r c h y of notes w a s i m p l i e d . T h e p l a i n c h a n t m o d e s , o n the o t h e r h a n d , cannot be e q u a t e d s i m p l y w i t h scales: a n u m b e r o f n o t e s are m o r e p r o m i n e n t t h a n o t h e r s , a n d m e l o d i e s i n a p a r t i c u l a r m o d e m a y b e related to each other b y m e l o d i c charateristics. T a b l e V . 4 . 1 shows h o w the G r e e k names were reordered to p r o v i d e the m e d i e v a l modal names. as The eighth by mode, the Hypermixolydian did indeed (literally advocate 'beyond an the M i x o l y d i a n ' , rather t h a n H y p o m i x o l y d i a n , 'below the M i x o l y d i a n ' ) is d e r i v e d f r o m Ptolemy, reported Boethius. Ptolemy eighth t r a n s p o s i t i o n scale a n octave a b o v e t h e first, hence h i g h e r t h a n a l l t h e o t h e r s ( ' H y p e r - ' ) . W r i t e r s o n the medieval plainchant modes s i m p l y changed the name to c o n f o r m w i t h the other p l a g a l m o d e s . R e f e r r i n g to the pitch-letters d e r i v e d f r o m B o e t h i u s ' d i v i s i o n s of t h e m o n o c h o r d , t h e a u t h o r of Alia chordam) which is 'guardian of musica its justified the d i s t i n c t i o n between D o r i a n (rnediam For the (qualitatis custodem). a). species. musica, it is a n d H y p e r m i x o l y d i a n b y i n v o k i n g the different ' m e d i a n note' of each m o d e quality' H y p e r m i x o l y d i a n t h i s is M ( m o d e r n G ) , f o r t h e D o r i a n O ( m o d e r n attempts m a d e to restore the G r e e k names to their o r i g i n a l octave

N o t u n t i l t h e h u m a n i s t r e d i s c o v e r y of c l a s s i c a l t e x t s i n t h e s i x t e e n t h c e n t u r y w e r e I n v i e w o f t h e b o r r o w i n g o f t h e G r e e k n a m e s f o r o c t a v e s p e c i e s i n Alia

n o t s u r p r i s i n g t h a t o n e o f t h e a u t h o r s s h o u l d also h a v e t a k e n t h e r a d i c a l s t e p of s p e c i f y i n g octave ranges for the p l a i n c h a n t m o d e s . O n e of h i s successors i n the same treatise s p e c i f i e d t h e s a m e r a n g e s s p l i t i n t o a f o u r t h p l u s a fifth, p o s i t i n g t h e i d e a o f a m e d i a n t o n e w h e r e t h e d i v i s i o n is t o b e f o u n d ( h e n c e t h e d i s t i n c t i o n b e t w e e n m o d e 1 a n d m o d e 8 ) . T h e p l a g a l m o d e s h a v e t h e m o d a l final as t h e i r m e d i a n n o t e , t h a t is a f o u r t h a b o v e t h e start of t h e r a n g e , w h e r e a s t h e a u t h e n t i c m o d e s h a v e t h e f i f t h as t h e i r m e d i a n . T h e n o m e n c l a t u r e modus m o d e is tropus. E v e n the ranges of the is r e t a i n e d f o r o c t a v e s p e c i e s , w h i l e t h e p l a i n c h a n t

R a n g e is i n d e e d a m a j o r p r e o c c u p a t i o n i n t h e t r e a t i s e .

T a b l e V . 4 . 1 . Greek and medieval

modal

names Alia musica Tonaries, Hucbald, A u r e l i a n , etc.

Boethius

Phrygian

Dorian Protus

Authentus

Hypodorian 7+^

Hypodorian

^ Plagal galis

Dorian

Phrygian

Authentus Deuterus

Mixolydian

Hypophrygian

Plagalis

Hypolydian

Lydian Tritus

Authentus

Lydian

Hypolydian

Plagalis

Hypophrygian

Mixolydian

Authentus Tetrardus

Hypermixolydian

Plagalis

= final of plainchant mode

N o e a n n e f o r m u l a s f o r each m o d e are stated, a l t h o u g h these b y n o m e a n s c o r r e s p o n d w i t h the scale-segments definition mode. T h e r e is a t r a c e o f t h e s a m e d i c h o t o m y i n t h e w a y i n w h i c h t h e c h a n t e x a m p l e s i n Musica enchiriadis a r e p r e s e n t e d . E a c h is p r e f a c e d , as w e h a v e s e e n , w i t h a p h r a s e w h i c h d e s c e n d s t h r o u g h t h e fifth a b o v e t h e f o u r finals i n t u r n . A l t h o u g h t h e a u t h o r d e f i n e d e l s e w h e r e . O n e senses h e r e a c e r t a i n t e n s i o n b e t w e e n m e l o d i c p a t t e r n (the N o e a n n e m e l o d i e s ) a n d abstract concept (scale-segments) i n t h e

d o e s n o t s a y s o , t h e s e are i n f a c t t h e f o u r p o s s i b l e s p e c i e s of fifth (cf. E x . V . 2 . 2 a n d Ex. V.3.5).

( v i ) Italian

Theory:

The

D i a l o g u s de m u s i c a

G S i ; S t r u n k 1950; Oesch 1954; H u g l o 1969, 1971 ' P r o l o g . T h e first e f f l o r e s c e n c e of m u s i c t h e o r y i n t h e C a r o l i n g i a n c e n t u r y t o o k p l a c e p r i m a r i l y i n n o r t h - e a s t F r a n c e a n d t h e M o s e l l e a r e a , i n t h e late n i n t h c e n t u r y . F r o m t h e n e x t f e w d e c a d e s less m a t e r i a l h a s c o m e d o w n t o u s , u n t i l at t h e e n d of t h e t e n t h c e n t u r y a n d i n t h e e a r l y e l e v e n t h t w o n e w g r o u p s of w r i t i n g s a p p e a r , f r o m I t a l i a n a n d s o u t h G e r m a n writers respectively. The I t a l i a n t e x t s are characterized need In to some by a strongly practical purpose, a b i l i t y to are relate thus heard the and and are sung to evidently m o t i v a t e d by the written pitches. t r a i n the

melodies to The

respects they

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Hucbald's writings. e a r l i e s t of t h e s e t e x t s is a n a n o n y m o u s t r e a t i s e written i n dialogue f o r m p r o b a b l y i n L o m b a r d y i n t h e c l o s i n g y e a r s of t h e t e n t h c e n t u r y . I t w a s f o r a l o n g t i m e a t t r i b u t e d t o t h e f a m o u s a b b o t O d o of C l u n y ( d . 9 4 2 ) , f o r m e r p u p i l o f R e m i g i u s of A u x e r r e , w h o is k n o w n to h a v e c o m p o s e d a n u m b e r of o f f i c e c h a n t s , b u t w h o c a n n o t be s h o w n to have left any w r i t i n g s o n m u s i c t h e o r y . T h e g r o u n d s for the a t t r i b u t i o n are s i m p l y t h a t t h e Dialogus O beatum pontificem t h e a u t h o r s h i p of t h e Dialogus m e n t i o n s the m o d a l c o r r e c t i o n s m a d e to the a n t i p h o n itself, b u t m e d i e v a l copies, a n d later G e r b e r t , p l a c e d b y a c e r t a i n a b b o t O d o . T h i s is n a t u r a l l y of n o c o n s e q u e n c e f o r

O d o ' s n a m e at t h e h e a d of t h e treatise a n d a s s u m e d O d o o f C l u n y t o b e t h e a b b o t i n q u e s t i o n . T h e i n t e r r e l a t i o n s h i p of t h e w r i t i n g s i n v o l v e d i n t h i s c o m p l e x of m a t e r i a l has b e e n c l a r i f i e d b y H u g l o ( 1 9 6 9 , 1 9 7 1 , ' P r o l o g ' ; see a l s o 1 9 7 1 , Tonaires, and 'Odo', NG): a n d t o n a r y ( C S i i . 117, f r o m a (i) P r o l o g u e ' F o r m u l a s q u a s v o b i s ' ( G S i . 2 4 8 ) 183-224

source rather distant f r o m the archetype); the p r o l o g u e was w r i t t e n b y a B e n e d i c t i n e a b b o t , t h e t o n a r y agrees w i t h t h e l i t u r g i c a l use of A r e z z o , so H u g l o a t t r i b u t e s t h e m t o ' a b b o t O d o of A r e z z o ' , a b o u t w h o m , h o w e v e r , n o t h i n g m o r e is k n o w n . (ii) P r o l o g u e 'Petistis obnixe' (GS i . 251, Huglo 1971, 'Prolog'); probably c o n c e i v e d as p r o l o g u e f o r a n a n t i p h o n e r i n a l p h a b e t i c n o t a t i o n , l a t e r u s e d as a n i n t r o d u c t i o n to ( i i i ) ; c o m p o s e d b y a m o n k , p o s s i b l y C a m a l d o l e s e o r V a l l o m b r o s a n . ( i i i ) T h e d i a l o g u e treatise ( G S i . 2 5 2 ) , i n w h i c h t h e O d o of (i) is m e n t i o n e d . T h e first c h a p t e r s of t h e Dialogus t h a t o n e uses f o r finding d e s c r i b e s the m o n o c h o r d . T h e c r u c i a l r e m a r k is that o n e m a y m a r k u p a n a n t i p h o n i n a c h a n t - b o o k w i t h t h e s a m e a l p h a b e t i c l e t t e r s t h e n o t e s o n t h e m o n o c h o r d . T h e a u t h o r ' s d i v i s i o n of t h e above). m o n o c h o r d is g i v e n i n E x . V . 4 . 2 (cf. t h a t of B o e t h i u s i n E x . V . 2 . 1 and describe the perfect consonances f o u r t h , fifth,

S u b s e q u e n t chapters e m p h a s i z e the difference b e t w e e n w h o l e tone a n d s e m i t o n e , and octave. T h e intervals w h i c h

E x . V . 4 . 2 . D i v i s i o n of the m o n o c h o r d i n Dialogus

de

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r 1. 2. 3. 4. 5. 6. 7.

A B 2 3

C 4

D E 5 6

F 7

G 8

a 9

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T a k e a length of string T X d i v i d e T X by 9 : divide A X by 9: d i v i d e L X by 4 : d i v i d e A X by 4 : divide B X by 4: divide C X by 4: T X by 2: A X by 2: B X by 2: CXby2: D X by 2 : A B C D E F G a i c d e f g

a a

T X : A X = 9:8 A X : B X = 9:8 L X : C X = 4:3 A X - . C X = 4:3 B X : E X = 4:3 C X : F X = 4:3 T X : G X = 2:1 A X : a X = 2:1 B X : b X = 2:1 C X : c X = 2:1 D X : d X = 2:1 E X : e X = 2:1 F X : f X = 2:1 G X : g X = 2:1 aXuX = 2:1

8. d i v i d e 9. d i v i d e 10. d i v i d e 11. d i v i d e 12. d i v i d e

13. d i v i d e E X b y 2 : 14. d i v i d e F X b y 2 : 15. d i v i d e G X b y 2 : 16. d i v i d e a X b y 2 : 17. d i v i d e F X by 4 : occur i n chant

F X : b X = 4:3 examples, v e r y m u c h as

m e l o d i e s are t h e n i l l u s t r a t e d w i t h c h a n t

H u c b a l d h a d d o n e , t h o u g h n e i t h e r t h e t r i t o n e n o r a n y s i x t h is a d m i t t e d h e r e . It i s at t h i s p o i n t ( c h . 6) that t h e a u t h o r d i s c u s s e s t w o p r o b l e m a t i c a n t i p h o n s . O beatum pontificem (J\S 5 8 6 ) lies m o s t l y i n t h e m i d d l e o f t h e D - m o d e r a n g e a n d resembles GS m o d e 2 a n t i p h o n s like the O - a n t i p h o n s of A d v e n t ; because of t w o h i g h C S i i . 121). T h e p r o b l e m is relatively m i n o r , qui operati', a n d is perhaps

l y i n g p h r a s e s it m u s t , h o w e v e r , b e a s s i g n e d t o m o d e 1 ( c f . p r o l o g u e t o O d o ' s t o n a r y , i . 2 4 9 , also m e n t i o n e d o n l y because of the danger of attaching u n d u e i m p o r t a n c e to t h e o p e n i n g a l o n e i n d e c i d i n g m o d a l i t y . T h e o t h e r a n t i p h o n , Domine f o r it s e e m s t o c a l l f o r b o t h b^ a n d bb. admirabile commercium), is m o r e d i f f i c u l t , It b e g i n s l i k e m a n y m o d e 6 a n t i p h o n s ( c f . O

a n d w e m i g h t t h e r e f o r e e x p e c t it t o b e n o t a t e d w i t h final o n

F. B u t at a l a t e r p o i n t , Eb w o u l d t h e n b e r e q u i r e d , a n i m p o s s i b i l i t y i n t h e n o t a t i o n o f the t e n t h to eleventh c e n t u r y . A n answer to the p r o b l e m w o u l d be to notate t h e a n t i p h o n a fifth h i g h e r , e n d i n g o n c, so that b o t h 6tj a n d bb c o u l d b e u s e d , as is d o n e , f o r i n s t a n c e , i n t h e W o r c e s t e r a n t i p h o n e r ( P a l M u s 12). A n o t h e r s o l u t i o n w o u l d b e t o r e w r i t e t h e passages w i t h Eblbb, a u t h o r o f t h e Dialogus would eliminate as i s d o n e i n t h e L u c c a a n t i p h o n e r ( P a l M u s 9 ) . T h e [amen] final. dico vobis (AM 4 8 9 ) . T h i s would then recommends a different procedure: the opening s h o u l d be step under the T h e antiphon

a l t e r e d t o r e s e m b l e m o d e 8 a n t i p h o n s s u c h as Amen the semitone

4.

The

Modes

465

p r e s u m a b l y b e n o t a t e d i n G . S t r u n k ( 1 9 5 0 , 112) g i v e s t h e v a r i o u s o p e n i n g s i n v o l v e d (Odo's preferred opening should be emended, however). The scale-segments i n v o l v e d are g i v e n i n E x . V . 4 . 3 . E x . V . 4 . 3 . N o t e s r e q u i r e d to notate a n t i p h o n Domine
Worcester, final c .

qui operati,

various versions

the same with final F \ Lucca, final c * -

altered opening, final G

9)

C h a p t e r 8 b e g i n s w i t h t h e w e l l - k n o w n d e f i n i t i o n of ' m o d e ' q u o t e d at t h e b e g i n n i n g of t h i s s e c t i o n : t h e final d e t e r m i n e s t h e m o d e . N o t o n l y t h i s , it also g o v e r n s s t a r t i n g n o t e a n d r a n g e . T h e rest of t h e c h a p t e r a m p l i f i e s t h i s o n e r e c o l l e c t s t h e e x a m p l e s at t h e e n d of H u c b a l d ' s t r e a t i s e b y e x p l a i n i n g t h a t t h e r e l a t i o n s h i p of s t a r t i n g - n o t e t o final s h o u l d b e t h a t of t h e s i x i n t e r v a l s e n u m e r a t e d p r e v i o u s l y ( m i n o r a n d m a j o r Individual s e c o n d , m i n o r a n d m a j o r t h i r d , f o u r t h , fifth) o r t h e u n i s o n . ( T h e o n l y e x c e p t i o n i s t h a t m o d e 3 m e l o d i e s o f t e n b e g i n o n c , a m i n o r s i x t h a b o v e t h e final 2s.) p h r a s e s w i t h i n t h e c h a n t (distinctiones) rule: Eight ' A chant chapters, belongs one for most to that each mode, h a d best e n d o n t h e final, mode towards which provide examples to w h i c h leads to the

its d i s t i n c t i o n s m o s t illustrate the above

f r e q u e n t l y l e a d . ' C h a p t e r 9 defines the range of c h a n t s i n the v a r i o u s m o d e s ( E x . V . 4 . 4 ) . prescriptions.

E x . V . 4 . 4 . Ranges of chants in the eight modes, Dialogus

Mode 1 Mode 2

de

musica

T
Mode 3 Mode 4

Mode 5
_

Mode 6

It is c l e a r f r o m t h e r e m a r k s i n c h . 6 that t h e a u t h o r i s p e r f e c t l y r e a d y t o ' i m p r o v e ' c h a n t s w h o s e m o d a l i t y i s u n c e r t a i n , a n d it i s n o t s u r p r i s i n g t o r e a d i n t h e last c h a p t e r of t h e d i a l o g u e t h a t c h a n t s w h i c h 'presumptuous and corrupt d o not obey the rules have been c o m p o s e d b y ('furtivam singularitatem a presumptoribus cantors'

v i t i a t i s q u e c a n t o r i b u s f a c t a m esse n o n d u b i t o ' . ) It is i n p r e c i s e l y t h i s c l i m a t e t h a t t h e revisions of the chant repertory u n d e r t a k e n b y the C i s t e r c i a n s s h o u l d be u n d e r s t o o d . T h e last p a r t o f t h e d i a l o g u e d e v e l o p s t h e i n t e r e s t i n g i d e a t h a t b y v i r t u e o f t h e i n t e r v a l s o n e i t h e r s i d e o f i t , e a c h n o t e has a c e r t a i n m o d a l q u a l i t y . T h i s f o l l o w s f r o m the c o n c e p t t h a t t h e f o u r finals, D, E
y

F, a n d G , d e f i n e t h e i r r e s p e c t i v e m o d e s i n to o n e of t h e f o u r finals

various ways. N o t e s w h i c h o c c u p y similar scale-segments

t h e r e f o r e s h a r e t h e i r m o d a l c h a r a c t e r . F o r e x a m p l e b e l o w A t h e r e is a t o n e , a b o v e it t h e r e i s a t o n e , a s e m i t o n e a n d t w o w h o l e t o n e s ; that i s a l s o t r u e o f D. S o A ' p r e s e r v e s the Ex. r u l e o f t h e first m o d e : V.4.5. de musica therefore not without reason is i t c a l l e d first'. The 'similitudes' between notes a n d modes w h i c h the author enumerates are g i v e n i n

E x . V . 4 . 5 . ' S i m i l i t u d e s ' of notes to the various modes, Dialogus

78

12

56

12

34

56

78

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56812

34

56

78

12

( v i i ) Guido

of

Arezzo I V ; S t r u n k 1950; O c s c h 1954; S m i t s van 1974; Waeltner a n d B e r n h a r d

G S i i ; C S M 4 ; B a b b 1978; D M A A . I l l , Waesberghe 1976. 1951, ' G u i d o ' ,

1953, 1957, Expositiones,

G u i d o o f A r e z z o w a s i n t i m a t e l y a c q u a i n t e d w i t h the Dialogus its u s e o n s o m e o c c a s i o n s .

and even

recommends

B u t h i s o w n t e a c h i n g goes w e l l b e y o n d it i n s c o p e a n d

c l a r i t y . G u i d o was b o r n p r o b a b l y a r o u n d 9 9 0 , and was educated i n t h e B e n e d i c t i n e m o n a s t e r y at P o m p o s a ( i n t h e P o d e l t a n o r t h of R a v e n n a ) , b u t b e c a m e u n p o p u l a r , a p p a r e n t l y as a d i r e c t r e s u l t o f h i s m u s i c t e a c h i n g . It w a s at P o m p o s a t h a t h e i n v e n t e d his s y s t e m of staff-notation (see a b o v e , IV.6). H i s Aliae regulae, c o n c e i v e d as p r o l o g u e t o a n a n t i p h o n e r w i t h t h e n e w n o t a t i o n , d e s c r i b e s the s y s t e m . G u i d o m o v e d to A r e z z o a r o u n d 1 0 2 5 ; h i s m o s t i m p o r t a n t t r e a t i s e , Micrologus, completed around ad 1030, w a s d e d i c a t e d t o B i s h o p T h e o d a l d o f A r e z z o . P o p e J o h n X I X ( 1 0 2 4 - 3 3 ) c a l l e d G u i d o t o R o m e t o s h o w h i m t h e n e w a n t i p h o n e r , as G u i d o r e p o r t s i n h i s Epistola Michaelem agreement o r Epistola de ignoto cantu. H i s w h e r e a b o u t s i n l a t e r y e a r s is u n k n o w n . cantor

G u i d o ' s n e w n o t a t i o n h a s a l r e a d y b e e n d e s c r i b e d . A s s o o f t e n , it is t h e l a c k o f b e t w e e n singers that has caused h i m to i n v e n t the s y s t e m . E a c h makes his o w n antiphoner, h e c o m p l a i n s , so that i n s t e a d o f t h e ' A n t i p h o n a r i u m

G r e g o r i i ' t h e t a l k i s o f L e o ' s o r A l b e r t ' s a n t i p h o n e r . G u i d o sees h i s s y s t e m n o t s i m p l y

as a b e t t e r m e t h o d t h a n t h e a l p h a b e t i c w a y of n o t a t i n g c h a n t . It has i m p l i c a t i o n s f o r t h e w h o l e w a y i n w h i c h c h a n t c a n be g r a s p e d as a t o n a l c o n s t r u c t . T h i s is m a d e c l e a r above all in the T h e Epistola Epistola. i n t r o d u c e s t h e h y m n Ut que ant laxis. T h e m e l o d y G u i d o uses m a y

w e l l h a v e b e e n c o m p o s e d b y h i m f o r the p u r p o s e i n h a n d , f o r it is u n k n o w n e l s e w h e r e at t h i s t i m e . I t s w e l l - k n o w n p e c u l i a r i t y is that e a c h l i n e b e g i n s w i t h a s u c c e s s i v e l y h i g h e r n o t e of a h e x a c h o r d a l series C-D-E-F-G-a ( E x . V . 4 . 6 ) . T h e reason w h y the l e a r n e r s h o u l d f i x t h e h e x a c h o r d a n d its s i x s y l l a b l e s i n t h e m i n d is t h a t he w i l l h a v e a p o i n t o f r e f e r e n c e f o r a n y c h a n t . G u i d o says t h a t l e a r n i n g m e l o d i e s b y r o t e f r o m a m a s t e r (the t r a d i t i o n a l m e t h o d ) o r b y p i c k i n g t h e m o u t o n t h e m o n o c h o r d ( b y m e a n s of a l p h a b e t i c n o t a t i o n , t h e m e t h o d of the Dialogus) is a d e q u a t e f o r b e g i n n e r s b u t b a d for m o r e a d v a n c e d s t u d e n t s . H i s n e w l e a r n i n g m e t h o d r e d u c e s t h e t i m e f o r l e a r n i n g the c h a n t r e p e r t o r y to t w o years ( p r e v i o u s l y ten w e r e r e q u i r e d ) . A b o y c a n l e a r n a n e w chant i n three days. T h i s is b e c a u s e the new system helps one to read music p r e v i o u s l y u n k n o w n ; a n d it h e l p s o n e to n o t a t e a m e l o d y o n e k n o w s . T h e p o i n t of t h e exercise is s u m m e d u p as f o l l o w s : ' E r g o ut i n a u d i t o s c a n t u s , m o x ut descriptos v i d e r i s , c o m p e t e n t e r e n u n t i e s , aut i n d e s c r i p t o s a u d i e n s cito d e s c r i b e n d o s b e n e possis d i s c e r n e r e , o p t i m e te i u v a b i t h a e c r e g u l a . ' ( ' T h e r e f o r e t h i s r u l e w i l l b e of g r e a t e s t h e l p t o y o u so t h a t y o u m a y s i n g c o m p e t e n t l y a n u n k n o w n c h a n t as s o o n as y o u see it w r i t t e n , o r so t h a t y o u m a y be a b l e to p e r c e i v e s t r a i g h t a w a y h o w t o w r i t e d o w n a n u n w r i t t e n c h a n t t h a t y o u h e a r . ' ) T h e s i n g e r is i n s t r u c t e d t o c o m p a r e t h e e n d s o f p h r a s e s , i n w h a t e v e r c h a n t is b e i n g d e a l t w i t h , w i t h t h e n o t e s o f t h e h e x a c h o r d . T h i s is so t h a t he w i l l be a b l e to g a i n a p r o p e r t o n a l o r i e n t a t i o n . T h e a d v a n t a g e s of u s i n g a s i n g l e h e x a c h o r d as p o i n t o f r e f e r e n c e are m a n y . T h e h e x a c h o r d e n c o m p a s s e s c a d e n t i a l f o r m u l a s of m o s t c h a n t s , c e r t a i n l y i n t h e s i m p l e r a n t i p h o n s w h i c h s p e c i e s of fifth o r s e v e n s p e c i e s of o c t a v e . E x . V . 4 . 6 . H y m n Ut queant laxis, G u i d o of A r e z z o the were

p r e s u m a b l y t a u g h t f i r s t i n G u i d o ' s s o n g - s c h o o l ; o n e h e x a c h o r d is b e t t e r t h a n f o u r

UT

queant

la - xis

R E - s o - n a - r e fi-bris

M l - r a ges-to-rum

FA-muli

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sancte

Io-an-nes.

Perhaps we c o u l d imagine a choirboy learning the a n t i p h o n s h o w n i n E x . V . 4 . 7 . H e can see t h e r e d F - l i n e , k n o w s t h a t it m a r k s t h e s e m i t o n e s t e p , m i - f a o n h i s h e x a c h o r d . H e c a n q u i c k l y l o c a t e t h e final of t h e c h a n t i n h i s h e x a c h o r d , w h i c h m e a n s h e c a n h e a r it i n h i s i n n e r ear, o r s i n g it o u t l o u d , w i t h t h e c o r r e c t c o n s t e l l a t i o n o f t o n e s a n d s e m i t o n e s o n e i t h e r s i d e . H e c a n t h e n g o o n to l o c a t e t h e finals o f e a c h p h r a s e , i n d e e d all t h e n o t e s of t h e p i e c e , w i t h r e l a t i v e ease. T h i s a n t i p h o n is of c o u r s e a v e r y s i m p l e

E x . V . 4 . 7 . A n t i p h o n Diligite

Dominum

( L u c c a , B i b l . C a p . 601, P a l M u s 9, p . 456)

Di - li - gi - te do-minum

omnes sancti

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ue-ri-ta-tem

re-quirer

do-mi-nus.

e x a m p l e , b u t s h o r t l y t h e s t u d e n t w i l l b e u s e d to m a k i n g t h e c o n n e c t i o n b e t w e e n c l e f s , c o l o u r e d l i n e s , a n d p a r t i c u l a r p i t c h e s , a n d be a b l e to r e a d at s i g h t f r o m t h e stave, u s i n g the h e x a c h o r d o n l y o c c a s i o n a l l y for reference. T h i s w o u l d have b e e n far q u i c k e r than l e a r n i n g b y rote f r o m a teacher, or f r o m notes p i c k e d out o n the m o n o c h o r d . ( A l t h o u g h he m i g h t have a t t a i n e d n o t a t i n g Diligite dominum fluency i n r e a d i n g a l p h a b e t i c n o t a t i o n at s i g h t , t h a t w o u l d not have taken a shorter t i m e t h a n r e a d i n g staff-notation.) T h e reverse process, w h e n it w a s a l r e a d y k n o w n f r o m m e m o r y , c o u l d p r o c e e d w h i c h w o u l d then be translated into e q u a l l y q u i c k l y t h r o u g h t h e i n t e r m e d i a r y of t h e h e x a c h o r d . T h e first p h r a s e w o u l d b e m a t c h e d to t h e s y l l a b l e s rereutrefa-mi-re, D-D-C-D-F-E-D in staff-notation.

G u i d o d o e s n o t m e n t i o n t h e s t e p s d e s c r i b e d a b o v e i n e v e r y d e t a i l . I h a v e t r i e d to i m a g i n e h o w it w a s d o n e . N o r d o e s h e say h o w t h i s l e a r n i n g m e t h o d w a s a p p l i e d to chants w i t h a w i d e range. S o o n after G u i d o hexachords were i m a g i n e d o n other notes of t h e s c a l e , o n F ( w i t h b b , o r r o u n d b , h e n c e ' h e x a c h o r d u m m o l l e ' ) a n d o n G ( w i t h bfc}, or square b, hence 'hexachordum O n e other d u r u m ' ) ; the hexachord on C was the to 'hexachordum naturale'. pedagogical device subsequently attributed

G u i d o is n o t m e n t i o n e d a n y w h e r e i n h i s w r i t i n g s : the ' G u i d o n i a n h a n d ' , w h e r e e a c h n o t e of t h e s c a l e has a p o s i t i o n o n t h e fingers of t h e ( l e f t ) h a n d , w i t h i t s c o r r e s p o d i n g h e x a c h o r d s y l l a b l e . T h e e a r l i e s t s o u r c e so far k n o w n , M o n t e c a s s i n o , A r c h i v i o d e l l a B a d i a 318, o f t h e late e l e v e n t h c e n t u r y , d i s p l a y s the r a n g e T - a , w i t h o u t h e x a c h o r d The syllables, b u t w i t h the letters T a n d S i n d i c a t i n g the i n t e r v a l s b e t w e e n p i t c h e s . the hand in a Bavarian manuscript of t h e twelfth century, Munich,

e a r l i e s t h a n d s w i t h h e x a c h o r d s y l l a b l e s s e e m to b e s o m e w h a t l a t e r . F i g . V . 4 . 1 s h o w s Bayerische are S t a a t s b i b l i o t h e k e l m 1 4 9 6 5 b , a n d t h e series of h e x a c h o r d s i n d i c a t e d o n i t . T h e h a n d also i n d i c a t e s w h o l e t o n e a n d s e m i t o n e s t e p s , a n d a g a i n s t c e r t a i n o f t h e l e t t e r s g i v e n t h e m o d e s i n w h i c h t h o s e p i t c h e s are the d o m i n a n t ( r e c i t i n g ) n o t e ( c i r c l e d o n m y c o p y f o r ease of i d e n t i f i c a t i o n ) . T h e d i r e c t i o n of r e a d i n g is g i v e n i n a s m a l l e r a c c o m p a n y i n g d i a g r a m . (See S m i t s v a n W a e s b e r g h e f o r h a n d s of a l l s o r t s ; also R u s s e l l 1 9 8 1 . ) B o t h t h e Regulae as t h e Dialogus similitudo a n d t h e Micrologus is affinitas). a s s i g n m o d a l q u a l i t i e s to t h e n o t e s of t h e s c a l e , the The longer d i s c u s s i o n i n the Micrologus h a d d o n e ( G u i d o ' s t e r m f o r the c o r r e s p o n d e n c e s b e t w e e n n o t e s , 1969, 129 f o r f a c s i m i l e , 1 2 0 - 4 3

of t h e Dialogus,

( c h . 7) i n t r o d u c e s t h e c o n c e p t of f o u r modi vocum

( l i t e r a l l y , 'the m o d e s of the n o t e s ' ,

F i g . V . 4 . 1 . G u i d o n i a n h a n d after M u n i c h , Bayerische Staatsbibliothek, e l m 14965b

p e r h a p s b e t t e r , ' t h e m o d a l q u a l i t i e s of t h e n o t e s ' ) . T h i s d e s c r i b e s q u i t e s i m p l y t h e c o n s t e l l a t i o n of t o n e s a n d s e m i t o n e s a r o u n d e a c h n o t e o f t h e s c a l e s . S i g n i f i c a n t l y , e a c h n o t e e x c e p t G is p l a c e d i n a h e x a c h o r d , a c l e a r l i n k w i t h t h e h e x a c h o r d a n d i t s mi s y l l a b l e s i n t h e ( l a t e r ) Epistola. T h e i n t e n t i o n is o b v i o u s : i f w e c a n l o c a t e a n o t e i n o n e of t h e s e s c a l e - s e g m e n t s , w e c a n n o t a t e i t , o r s i n g i t , as t h e case r e q u i r e s . T h e Micrologus monochord, also t r e a t s o t h e r t o p i c s c o v e r e d b y t h e Dialogus: t h e d i v i s i o n of t h e s a m e as those the i n t e r v a l s f o u n d b e t w e e n notes i n p l a i n c h a n t (the ut-rethen G u i d o e n u m e r a t e s f o u r p a t t e r n s (see E x . V . 4 . 8 ) .

e n u m e r a t e d i n t h e Dialogus),

t h e n a m e s of t h e m o d e s , t h e i r r a n g e , t h e i m p o r t a n c e of

470

V. Plainchant

and

Early

Music

Theory

E x . V . 4 . 8 . T h e modi vocurn,

G u i d o of A r e z z o

I
e t h o s of t h e

, , 1

,, 1

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1 0 : ' D e m o d i s , et f a l s i m e l i (!), constitute rare been in (15-

t h e f i n a l , a n d t h e ' c o r r e c t i o n ' of w r o n g m e l o d i e s ( c h . modes to and on classical Although

a g n i t i o n e et c o r r e c t i o n e ' ) . T w o c h a p t e r s c o n c e r n o r g a n u m , a n d t w o c h a p t e r s , o n t h e P y t h a g o r a s ' d i s c o v e r y of m u s i c theory (there were none references back mentioned 16) i n t h e Dialogus). Guido's

c o m p a r i s o n of t h e e l e m e n t s ( I V . 1).

o f m u s i c w i t h t h e p a r t s of l a n g u a g e has a l r e a d y its r o o t s B o w e r 1989), these chapters

lie i n a t r a d i t i o n of c o n c e i v i n g m u s i c

g r a m m a t i c a l t e r m s (see P h i l l i p s a n d H u g l o 1985,

d e v e l o p i n a n o r i g i n a l w a y , w i t h n u m e r o u s observations o n the

relationships

b e t w e e n m u s i c a l p h r a s e s . C h a p t e r 17 d e s c r i b e s t h e w a y i n w h i c h a m e l o d y m a y b e c o m p o s e d m e c h a n i c a l l y b y a s s i g n i n g n o t e s a c c o r d i n g to t h e v o w e l i n e a c h s y l l a b l e of t h e t e x t : let t h e v o w e l ' a ' b e g i v e n t h e n o t e C, 'e' be g i v e n D, ' i ' E, a n d so o n ; s e v e r a l 11). enhance our and, d i f f e r e n t a r r a n g e m e n t s are s u g g e s t e d . G u i d o n e v e r t h e l e s s d e p a r t s f r o m t h e m e t h o d at t h e e n d o f t h e c h a n t i n o r d e r to m a k e a s a t i s f a c t o r y c a d e n c e (see p l a t e A s f a r as t h e m o d a l i t y of c h a n t is c o n c e r n e d , abstract definition. His two primary aims u n d e r s t a n d i n g of c h a n t i n w a y s that seem to be: (i) to G u i d o ' s m a i n c o n c e r n is n o t a n r e a d i n g of n o t a t i o n

w i l l facilitate the

c o n v e r s e l y , t h e n o t a t i n g of c h a n t s ; a n d (ii) t o p r o v i d e g u i d e l i n e s f o r t h e c o m p o s i t i o n of n e w c h a n t s a n d t h e c o r r e c t i o n o f p o o r o n e s .

( v i i i ) South

German

Writers

I n b u l k t h e I t a l i a n t h e o r e t i c a l l i t e r a t u r e of t h e t e n t h to e l e v e n t h c e n t u r i e s is e a s i l y o v e r s h a d o w e d b y that w r i t t e n i n south G e r m a n y . F r o m F r a n c e et al. 1972, a l s o V i l l e t a r d 1912, rather little new w r i t i n g is k n o w n , save f o r t h e t r e a t i s e b y O d o r a n n u s of S e n s ( 9 8 5 - 1 0 4 6 : see B a u t i e r 1 9 5 6 ) . M e n t i o n s h o u l d a l s o be m a d e of t w o l e t t e r s musica, a n d a treatise o n the measurement (c.940NG). French c o m m e n t i n g o n B o e t h i u s ' De institutione

of o r g a n - p i p e s a n d t h e d i v i s i o n of t h e m o n o c h o r d , b y G e r b e r t of A u r i l l a c T h e generally meagre q u a n t i t y of m a t e r i a l d o e s n o t m e a n , h o w e v e r , t h a t

1 0 0 3 ) , later P o p e S y l v e s t e r I I (see S a c h s 1972 a n d H u g l o , ' G e r b e r t d ' A u r i l l a c ' ,

m u s i c i a n s n o l o n g e r s t u d i e d m u s i c t h e o r y . P r o o f that t h e y d i d c a n b e f o u n d i n m a n u s c r i p t s like M u n i c h , Bayerische Staatsbibliothek, e l m 14272. T h i s was m o s t l y c o p i e d at C h a r t r e s b y t h e m o n k H a r t v i c of t h e B e n e d i c t i n e a b b e y of S t E m m e r a m i n Regensburg, a n d c o n t a i n s , a m o n g o t h e r t h i n g s , B o e t h i u s ' De institutione rnusica,

g l o s s e d p a r t l y b y F u l b e r t of C h a r t r e s ( b i s h o p 1 0 0 7 - 2 8 ) , a t o n a r y , w r i t i n g s o n t h e t r i v i u m , t h e t h r e e m a i n t r e a t i s e s of the Enchiriadis Alia musica (see R I S M B/III/3, 110). the studies i n m u s i c theory w h i c h flourished g r o u p , a m o n o c h o r d tract, a n d the I n R e g e n s b u r g it c o n t r i b u t e d s i g n i f i c a n t l y t o t h e r e . Y e t , o n t h e w h o l e , w o r k s of t h e or

o r i g i n a l i t y of t h o s e m e n t i o n e d h e r e d o n o t s e e m to h a v e b e e n w r i t t e n i n F r a n c e ,

h a v e b e e n l o s t . S m i t s v a n W a e s b e r g h e r e p e a t e d l y a s s e r t e d t h e e x i s t e n c e of a s c h o o l of m u s i c t h e o r y i n L i e g e a n d n e i g h b o u r i n g areas, r e l a t e d t o t h e s o u t h G e r m a n t r a d i t i o n , t h o u g h the true p i c t u r e r e m a i n s s o m e w h a t w o r k s of the eleventh century. It by 1069 by unclear. T h e i m p o r t a n c e of t h e south G e r m a n a r e a c a n b e j u d g e d f r o m T a b l e V . 4 . 2 , a l i s t of t h e m o r e i m p o r t a n t w r i t e r s a n d T h e r e is c l e a r l y n o s p a c e h e r e to d i s c u s s a l l m e m b e r s of t h i s c o l o u r f u l g r o u p . c o n t a i n s s e v e r a l v e r y e m i n e n t c h u r c h m e n : B e r n o , m o n k of P r u m , c a l l e d i n 1008 Constance; abbot W i l l i a m of H i r s a u , m o n k of S t E m m e r a m i n R e g e n s b u r g , f o u n t a i n h e a d of a g r e a t m o n a s t i c from

t h e E m p e r o r H e n r y I I t o b e a b b o t of t h e f a m o u s a b b e y o n t h e R e i c h e n a u i n L a k e of H i r s a u i n the B l a c k F o r e s t , reforming

m o v e m e n t , t h e ' G e r m a n C l u n y ' ; T h e o g e r u s , m o n k of H i r s a u , a p p o i n t e d i n 1088 W i l l i a m to b e a b b o t of S t G e o r g e n i n t h e B l a c k F o r e s t , 1117, widely of t h e 1980, The t h o u g h u n a b l e to o c c u p y t h e see; read abbey popular theologian of his time. Other H o n o r i u s of A u g s b u r g , p e r h a p s t h e figures remain

e l e c t e d b i s h o p of M e t z i n most somewhat and

m y s t e r i o u s . J o h a n n e s has b e e n i d e n t i f i e d i m p l a u s i b l y as a n E n g l i s h m o n k , o r as a b b o t of A f f l i g h e m n e a r Brussels; he w a s a l m o s t certainly Bavarian, p o s s i b l y w r o t e h i s t r e a t i s e f o r B i s h o p E n g e l b r e c h t of P a s s a u ( 1 0 4 5 - 6 0 : see H o h l e r 5 7 - 8 ) . O f A r i b o n o t h i n g c e r t a i n is k n o w n . contributions naturally vary widely in scope and interest. The material

c o n n e c t e d w i t h S t E m m e r a m i n R e g e n s b u r g e x e m p l i f i e s t h i s (it h a s b e e n e l u c i d a t e d p r i n c i p a l l y b y B i s c h o f f ) . O t k e r is k n o w n o n l y as t h e a u t h o r of a d i a g r a m c a l l e d t h e Ouadripartita 'chordae figura (see B r o n a r s k i 1926, mode, that also S m i t s v a n W a e s b e r g h e is, t h e notes whose modal 1969, fifth, 90), a p p a r e n t l y f o r i d e n t i f y i n g o n t h e m o n o c h o r d the s p e c i e s of f o u r t h a n d constitutivae' of each a n d the character

i d e n t i f i e s t h e m w i t h e a c h m o d e , a c o n c e p t p e r h a p s b o r r o w e d b y A r i b o i n a d i a g r a m of h i s o w n , n i c k n a m e d t h e ' C a p r e a ' . O t l o h ' s m u s i c a l a c t i v i t i e s are o v e r s h a d o w e d b y h i s m a n y o t h e r i n t e r e s t s , b u t he a p p e a r s as W i l l i a m o f H i r s a u ' s p a r t n e r i n t w o d i a l o g u e t r e a t i s e s , o n m u s i c a n d o n a s t r o n o m y ; he m a y b e a u t h o r o f a K y r i e t r o p e ; a n d h e copied two music theory manuscripts, Munich, Bayerische Staatsbibliothek, elm 14523 ( w h i c h i n c l u d e s a l l G u i d o ' s w r i t i n g s ) a n d e l m A u g s b u r g also spent Enchiriadis 1 8 9 3 7 . W i l l i a m of H i r s a u ' s The p r e s e n c e of the an

c o n n e c t i o n w i t h S t E m m e r a m has a l r e a d y b e e n m e n t i o n e d . H e n r i c u s / H o n o r i u s of s e v e r a l y e a r s as m o n k i n R e g e n s b u r g . be the t r e a t i s e s at S t E m m e r a m , i n a s o u r c e c o p i e d at C h a r t r e s , a n d O t l o h ' s c o p y c u l t u r a l l i n k s of

of G u i d o ' s w r i t i n g s , s h o w h o w c o s m o p o l i t a n m i g h t i m p o r t a n t B e n e d i c t i n e m o n a s t e r y i n its h e y d a y .

472

V. Plainchant

and

Early

Music

Theory century

T a b l e V . 4 . 2 . Writers on music theory in south Germany Reichenau: P s e u d o - B e r n e l i n u s (before Berno) Musica ( G S i) Berno ( d . 1048) (see Oesch 1961) Pro logus in ton an urn ( G S ii) Tonarius De consona tonorum diversitate ( D M A A.VI6) De rnensura monochordi (?) ( D M A A . V i a ) H e r m a n n u s Contractus (1012-54) (see Oesch 1961) De musica ( G S i i , E l l i n w o o d 1936)

in the eleventh

Explicatio litterarum et signomm ( G S i i , E l l i n w o o d 1936) Versus ad discernendurn cantuum ( G S i i , E l l i n w o o d 1936) Bavarian and related centres: O t k e r of St E m m e r a m Mensura quadripartitae figurae (c. 1050?) (Mettenleiter 1865; B r o n a r s k i 1926) O t l o h of St E m m e r a m ( 1 0 3 2 - 7 0 , older contemporary of W i l l i a m of H i r s a u ) ( B i s c h o f f 1955) W i l l i a m of H i r s a u ( d . 1091) Musica (1070-80) ( G S i i ; M u l l e r 1883; C S M 23) Johannes ' C o t t o ' or 'of A f f l i g h e m ' ( f r o m Passau? c. 1060?) De musica cum tonario ( G S i i ; C S M 1; B a b b 1978) A r i b o (of Freising?) De musica (1068-78) ( G S i i ; C S M 2) Anon. Comment an us in Micrologurn (c. 1075?) (Smits van Waesberghe 1957, F r u t o l f of M i c h e l s b e r g (Bamberg) ( d . 1103) Breviarium de musica et tonarius ( V i v e l l 1919) H e n r i c u s / H o n o r i u s of A u g s b u r g ('Augustodunensis', c. 1100) Dialogus de musica ( D M A A . V I I ; H u g l o 1967, ' H e n r i ' ; F l i n t 1982) T h e o g e r u s of M e t z (c. 1050-1120, p u p i l of W i l l i a m of H i r s a u at H i r s a u ) Musica ( G S ii) Liege?: ' W o l f - A n o n y m o u s ' (c. 1060) De musica (Wolf 1893) Franciscus of Liege (1047-83) or R u d o l f of S a i n t - T r o n d (c. 1070-1132) Quaestiones in musica (Steglich 1911)

Expositiones)

( i x ) Modal

Theory

in South

Germany

G u i d o ' s i n f l u e n c e e v e n t u a l l y b e c a m e v e r y s t r o n g i n s o u t h G e r m a n y , as e l s e w h e r e , b u t B e r n o w a s w r i t i n g b e f o r e it h a d e f f e c t . N o r d o e s B e r n o use a n y p i t c h - n o t a t i o n , w h e r e n e c e s s a r y r e f e r r i n g i n s t e a d t o t h e G r e e k p i t c h - n a m e s , p r o s l a m b a n o m e n o s a n d so o n . T h e r e is n o e x p l i c i t c o n n e c t i o n w i t h s i g h t - s i n g i n g o r n o t a t i n g m u s i c . ( A l l passages

r e f e r r i n g to l e t t e r - n o t a t i o n i n G e r b e r t ' s e d i t i o n are i n t e r p o l a t i o n s , p r i n c i p a l l y f r o m Gerbert's Anonymous I G S i . 330: see O e s c h 1961, 8 4 - 9 0 ; o n the other h a n d , S m i t s v a n W a e s b e r g h e i n D M A A . V I r e f e r r e d to t h i s a u t h o r as B e r n o I.) T h e u s e o f t h e m o n o c h o r d is e n v i s a g e d , as e m b o d i m e n t of t h e c l a s s i c a l scale s y s t e m , f o r e x a m p l e when Berno recommends will be oves habeo, that certain antiphons sunt be transposed up a fifth, enim for hae de otherwise they a n t i p h o n a e , Alias musica], i m p o s s i b l e to locate Domine o n the monochord ('Nisi

qui operati

[ m e n t i o n e d i n t h e Dialogus

q u a e s e x t i t o n i s u n t , i n q u i n t u m t r a n s p o n a n t u r l o c u m , h o c est, a p a r y p a t e

m e s o n i n trite d i e z e u g m e n o n , n e q u a q u a m i n regulari m o n o c h o r d o servare p o t e r u n t ordinem suum.') B e r n o ' s p r i n c i p a l t r e a t i s e , c o n c e i v e d as p r o l o g u e to a t o n a r y , i s , a c c o r d i n g t o t h e a u t h o r h i m s e l f , l a r g e l y a s u m m a r y of o l d e r r u l e s , as is m a d e c l e a r b y f r e q u e n t c i t a t i o n s or p a r a p h r a s e s of H u c b a l d a n d , to a lesser e x t e n t , P s e u d o - B e r n e l i n u s ( G S i . 3 1 3 ) . A p a r t f r o m c h . 4 , a s p e c u l a t i o n o n t h e s i g n i f i c a n c e of t h e n u m b e r s 1, 2, 3, 4, a n d t h e i r sum 10, it s t a y s w i t h i n t h e c o n f i n e s of b a s i c r u d i m e n t s , as a b r i e f a c c o u n t of h i s i n fact as s p e c i e s of f o u r t h p l u s s p e c i e s of V.4.8). musica w r i t i n g s . B e r n o ( G S i i . 69), i n these tetrat h a n the and H i s ninth chapter octaves d i s c u s s i o n of m o d a l i t y w i l l m a k e c l e a r . F r o m P s e u d o - B e r n e l i n u s c o m e s a d e s c r i p t i o n of t h e m o d e s i n t e r m s of s c a l e - s e g m e n t s , fifth, j u s t as i n G u i d o ' s e x p o s i t i o n (see E x .

T h e r e are o b v i o u s s i m i l a r i t i e s w i t h t h e Alia pentachords ('Protus constat

t h e w o r d s of P s e u d o - B e r n e l i u s , says that t h e m o d e s ' c o n s i s t o f ex p r i m a s p e c i e d i a p e n t e . . . ' ) . n e v e r t h e l e s s sets o u t g u i d e - l i n e s f o r r a n g e w h i c h are m o r e flexible

j u s t o u t l i n e d . W e s h o u l d t h e r e f o r e u n d e r s t a n d t h e s c a l e - s e g m e n t s as l o c i w i t h i n w h i c h t h e c h a n t w i l l t y p i c a l l y m o v e . A f t e r d e a l i n g w i t h c h a n t s w h o s e m o d a l i t y is f o r o n e reason or another unclear, Berno, like his Italian contemporaries, foedus discusses the r e l a t i o n s h i p b e t w e e n the finals final a n d the b e g i n n i n g s a n d e n d i n g s of t h e component

p h r a s e s of a c h a n t . H e also s p e a k s of t h e socialitatis

w h i c h exists b e t w e e n the

a n d n o t e s a f i f t h h i g h e r , a n d s o m e t i m e s a f o u r t h h i g h e r . A h o s t of e x a m p l e s are rather t h a n e n d i n g o n the is a n e x a m p l e o f this 60-

a d d u c e d to s h o w h o w s o m e c h a n t s are best i m a g i n e d as b e i n g p l a c e d i n a d i f f e r e n t p a r t of t h e t w o - o c t a v e s y s t e m , to take a d v a n t a g e of t h e sociales, normal finals. The c o m m u n i o n De fructu operum tuorum

( d i s c u s s e d e x h a u s t i v e l y b y J a c o b s t h a l 1897, 5 2 - 6 2 , 1 3 6 - 7 8 , a n d b y B o m m 1929,

2 , 9 7 - 1 0 3 ) . B e r n o r e g a r d s it as a m o d e 8 c h a n t , b u t says t h a t if o n e s t a r t s o n t h e f i n a l ( o u r G, h i s l i c h a n o s m e s o n ) a p r o b l e m i n v o l v i n g t h e s e m i t o n e arises i n t h e m i d d l e of t h e c h a n t ; f o r t h i s r e a s o n t h e c h a n t s h o u l d b e a s s i g n e d to t h e p o s i t i o n a f o u r t h h i g h e r , our c. T h e c o m m u n i o n as it is f o u n d i n t h e m o d e r n S o l e s m e s / V a t i c a n b o o k s h a s o u r m o d e r n m a j o r t o n a l i t y . If o n e w a n t e d t o n o t a t e s u c h a p i e c e i n t h e M i d d l e A g e s e n d i n g w i t h o n e of t h e f o u r r e g u l a r f i n a l s , it w o u l d h a v e to be p l a c e d o n F a n d use bb, i n o t h e r w o r d s l i k e o u r m o d e r n F m a j o r . T h e c h a n t l i e s i n t h e l o w e r r e g i s t e r , a n d is thus assigned to m o d e 6 ( F plagal) i n m o d e r n b o o k s . T h e reason for Berno's r e m a r k s can b e seen if t h e v e r s i o n i n t h e D i j o n t o n a r y , M o n t p e l l i e r , F a c u l t e d e M e d e c i n e H . 159, is i n s p e c t e d , f o r h e r e t h e c h a n t is i n d e e d n o t a t e d w i t h final o n c, a n d m a k e s

use of b o t h 6t| a n d bb one regards the piece

in alternating phrases. T h e M o n t p e l l i e r m a n u s c r i p t actually Whether G-mode as F-mode (with hypothetical E\\ a n d Eb) or

a s s i g n s t h e c o m m u n i o n to m o d e 6, w h e r e a s f o r B e r n o it is a m o d e 8 p i e c e .

( h y p o t h e t i c a l F t | a n d F%) a p p e a r s t o be a m a t t e r of taste, n o r m a l l y to be d e c i d e d w i t h r e f e r e n c e to t h e e n d i n g : is t h e n o t e u n d e r t h e final i n t h e last p h r a s e a w h o l e t o n e ( G mode) or a semitone (F-mode)? theory of a f f i n i t i e s G has ( A l t h o u g h b y this reasoning M o n t p e l l i e r s h o u l d have The scale-segments used i n the cadence, Vatican/ c h o s e n m o d e 8, it n e v e r t h e l e s s a s s i g n s the p i e c e to m o d e 6 : is t h i s b e c a u s e i n G u i d o ' s no co-final?) fructu S o l e s m e s v e r s i o n a n d i n M o n t p e l l i e r H . 159 are g i v e n i n E x . V . 4 . 9 . ( T h e h a d a d i f f e r e n t s o l u t i o n . De has at least o n e D mortalia. r e s e m b l e s D - m o d e c o m m u n i o n s s u c h as Posuerunt e l i m i n a t e d t h e p a s s a g e s w i t h t h e Eblbb Cistercians

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e n d i n g the piece o n D a n d creating a m o d e 1 c o m m u n i o n . ) E x . V . 4 . 9 . Notes r e q u i r e d to notate c o m m u n i o n De fructu, t w o versions

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u s e s p i t c h - l e t t e r s , a n d s o m e o f h i s t o p i c s reflect ideas i n G u i d o ' s w r i t i n g s . O f p r i m e s e g m e n t s w h i c h are d e c i s i v e f o r u n d e r s t a n d i n g the i n t e r v a l l i c r e l a t i o n of t h e t h e s u r r o u n d i n g n o t e s . H e r m a n n u s ' e q u i v a l e n t are the sedes troporum,

o r 'seats of t h e tetrachord),

m o d e s ' . T h e s e are d e t e r m i n e d b y t a k i n g e a c h of the f o u r t e t r a c h o r d s w h i c h m a k e u p t h e d i a t o n i c s c a l e (to w h i c h W ' i l l i a m of H i r s a u a d d e d t h e s y n e m m e n o n a n d a d d i n g a t o n e o n e i t h e r s i d e (see E x . f o r D ( a n d d). V.4.10). and G u i d o D was p l a i n l y p r o t u s , a n d o n either side. But

A n o t h e r d i f f e r e n c e f r o m G u i d o is H e r m a n n u s ' i n s i s t e n c e o n a d u a l m o d a l f u n c t i o n F o r t h e a u t h o r of t h e Dialogus o n l y A h a d t h e s a m e d i s p o s i t i o n of w h o l e t o n e s a n d s e m i t o n e s t e t r a c h o r d s . T h u s A, D, graves, a, a n d d h a v e p r o t u s q u a l i t y , B, E,

H e r m a n n u s a s s i g n s m o d a l q u a l i t y o n the b a s i s of the p o s i t i o n of t h e n o t e i n t h e f o u r b, a n d e h a v e deuterus q u a l i t y , a n d so o n . D, w h i c h a p p e a r s as first n o t e of the finales t h e r e f o r e has d u a l q u a l i t y . a n d f o u r t h note of the

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a n d DG a r e d i f f e r e n t s p e c i e s o f f o u r t h . T h e A - D t e t r a c h o r d s t a r t s w i t h t h e p r o t u s t e t r a c h o r d s t a r t s w i t h t h e t e t r a r d u s n o t e of the graves a n d ends w i t h the tetrardus note

of t h e finales. T h e t e t r a c h o r d s h a v e q u i t e d i f f e r e n t m o d a l q u a l i t y a n d t h u s c o n s t i t u t e t h e first a n d f o u r t h s p e c i e s o f f o u r t h r e s p e c t i v e l y . B y a s i m i l a r p r o c e s s o f m a t c h i n g a p r o t u s s t e p w i t h a n o t h e r p r o t u s s t e p , H e r m a n n u s d e f i n e s f o u r s p e c i e s o f fifth a n d f o u r s p e c i e s o f o c t a v e . T h e fifths r u n b e t w e e n t h e (D-a, G-g). A l t h o u g h t h i s r e a s o n i n g h a s a c e r t a i n l o g i c , it i s c l e a r l y at v a r i a n c e w i t h c l a s s i c a l t h e o r y . A n d w h i l e p r e v i o u s d e v i a t i o n s f r o m c l a s s i c a l t h e o r y s u c h as, f o r e x a m p l e , H u c b a l d ' s r e d e f i n i t i o n o f the t e t r a c h o r d s u s u a l l y h a d a p r a c t i c a l p u r p o s e , H e r m a n n u s ' i d e a s are n o t o b v i o u s l y t h e p r o d u c t of e x p e r i e n c e i n l e a r n i n g a n d t e a c h i n g c h a n t . T h e examples of chants i n the different m o d e s w h i c h he casually cites near the e n d of h i s treatise have n o essential c o n n e c t i o n w i t h w h a t has p r e c e d e d : 'It also h e l p s g r e a t l y i n recognizing the quality of the modes (troporum qualitatem) if y o u meditate abstract a s s i d u o u s l y u p o n t h e c u s t o m a r y c a d e n c e s a n d diffinitiones, m a n y versicles i n their E-b, F-c, G-d), finales tetrachord a n d the {D-d, superiores E-e, F-f, t h e o c t a v e s b e t w e e n finales a n d excellentes

m o d e s , a n d e x t e n d e d chants most of all . . .'. T h e balance s t r u c k b e t w e e n

theory a n d practical application w h i c h characterizes the w r i t i n g s of, say, H u c b a l d a n d B e r n o does n o t o b t a i n i n H e r m a n n u s ' treatise. H i s t h e o r i z i n g is nevertheless of a n o r i g i n a l k i n d , n o t a r e v e r s i o n to t h e a b u n d a n t t h e o r e t i c a l k n o w l e d g e t o b e f o u n d i n Boethius.

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D u r i n g the t h i r t e e n t h c e n t u r y p o l y p h o n i c m u s i c a s s u m e d an i m p o r t a n c e i n the w o r k of p r o g r e s s i v e t h e o r i s t s at least e q u a l to that of p l a i n c h a n t . It is t r u e t h a t s o m e w r i t e r s c o n t i n u e d t o i n t e r e s t t h e m s e l v e s i n p l a i n c h a n t o n l y , at least j u d g i n g b y t h e w r i t i n g s that h a v e c o m e d o w n to u s : E n g e l b e r t of A d m o n t ( d . 1 3 3 1 ; G S i i . 2 8 7 - 3 6 9 ) is o n e s u c h . O n the other h a n d w e have m a n y short texts, a n d some c o m p l e t e treatises, w h i c h are a l m o s t e n t i r e l y p r e o c c u p i e d w i t h p o l y p h o n y , f o r e x a m p l e , t h e w e l l - k n o w n treatise of A n o n y m o u s I V ( C S i . 3 2 7 - 6 5 ; R e c k o w 1 9 6 7 ) . B u t f o r t h o s e w r i t e r s w h o a t t e m p t e d t o c o v e r t h e o r e t i c a l a s p e c t s of a l l b r a n c h e s of p r a c t i c a l m u s i c , p l a i n c h a n t a n d p o l y p h o n y are of e q u a l i n t e r e s t . The t r a n s i t i o n is u n m i s t a k a b l e . P o l y p h o n y (c.1030). I n the t w e l f t h o c c u p i e s t w o o f t h e t w e n t y c h a p t e r s i n G u i d o ' s Micrologus

c e n t u r y , p o l y p h o n y is d i s c u s s e d o n l y i n t h e last t w o of t w e n t y - n i n e c h a p t e r s of t h e S c h n e i d e r / L o n d o n / N a p l e s a n o n y m o u s e d i t e d b y P a n n a i n ( 1 9 2 0 ) , a n d i n o n l y t w o of the e i g h t e e n b y t h e s o - c a l l e d ' S t M a r t i a l ' o r ' D e L a F a g e ' a n o n y m o u s ( e d . S e a y see Sarah F u l l e r 1977, w h o s h o w s that it is d e p e n d e n t t e a c h i n g , f o r e x a m p l e i n i t s u s i n g t h e t e r m maneriae De plana NG). musica the ed. a n d De early mensurabili fourteenth 1985) musica century 1957; on Cistercian plainchant 1240,

for the f o u r m o d e s D , E , F , a n d

G ) . A g a i n s t t h i s w e c a n set t h e t w i n treatises b y J o h a n n e s d e G a r l a n d i a of a b o u t From we have t h e Lucidarium (concerning

(see B a l t z e r , ' J o h a n n e s d e G a r l a n d i a ' , (concerning polyphony) (The of Speculum abovefor

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p l a i n c h a n t , B o o k 7 p o l y p h o n y ( C S M 3). better-known bibliographical of named authors in of chant

m e n t i o n e d w r i t e r s n a t u r a l l y f o r m a m e r e s e l e c t i o n . M u c h w o r k s t i l l r e m a i n s to b e even of the theory; anonymous Whatever ones the the information Palisca, the 'Anonymous modes', the

theoretical w r i t i n g s ' , A G\) intellectual attractions H e r m a n n u s ' 'seats of p r a c t i c a l a d v a n t a g e s of G u i d o ' s h e x a c h o r d s e n s u r e d t h e m u n i v e r s a l p o p u l a r i t y . B y t h e t h i r t e e n t h c e n t u r y it w a s c u s t o m a r y to i d e n t i f y p i t c h e s n o t o n l y b y t h e i r l e t t e r b u t a l s o b y t h e i r s o l m i z a t i o n s y l l a b l e s : t h u s m i d d l e c, w h i c h f a l l s i n t h r e e h e x a c h o r d s , is c fa ut: sol n o o t h e r p i t c h h a s t h i s c o m b i n a t i o n of s y l l a b l e s . T h e c h o i c e b e t w e e n s y l l a b l e s I f a c h a n t w e n t b e y o n d t h e r a n g e of a s i n g l e h e x a c h o r d , it w o u l d h a v e to b e

m a d e p o s s i b l e a c h a n g e f r o m o n e h e x a c h o r d to a n o t h e r , a p r o c e s s k n o w n as m u t a t i o n (mutatio). explains: O n e undertakes [a m u t a t i o n ] because of ascent or descent, as for example i n Cfa ut, because, if for this note one were to take fa, one could ascend as far as the t h i r d note. If one w i s h e d to reach the f o u r t h note, however, one w o u l d have to take ut i n this same Cfa ut, w h i c h is a m u t a t i o n of fa into ut. T h e p r a c t i c a l a p p l i c a t i o n o f G u i d o ' s modi vocum a n d of H e r m a n n u s ' 'seats of t h e assigned s y l l a b l e s ('solmized') f r o m an adjacent h e x a c h o r d . A s J o h a n n e s de G a r l a n d i a

m o d e s ' ( a l t h o u g h H e r m a n n u s d o e s not e x p l a i n it) is that c h a n t s w i t h c h r o m a t i c n o t e s

c a n b e e n v i s a g e d a n d n o t a t e d at a p i t c h c o m p l e m e n t a r y t o t h e u s u a l o n e , e n d i n g w i t h o n e of t h e a l t e r n a t i v e finals ( t h e ' a f f i n a l s ' i n G u i d o ' s t e r m i n o l o g y , u s u a l l y n o w ' c o - ' o r ' c o n f i n a l s ' ) . B u t since b o t h the ' m o d i v o c u m ' a n d the 'sedes t r o p o r u m ' w e r e c o n c e i v e d as h e x a c h o r d s , it is c l e a r t h a t t h e s o l m i z a t i o n s y l l a b l e s w i l l fit t h e m e x a c t l y . W h e t h e r t h e c h a n t c l o s e s o n a c o - f i n a l o r n o t , it w i l l be s o l m i z e d i n t h e s a m e w a y . S o J a c o b u s o f L i e g e c a n q u i t e s i m p l y s a y : ' c h a n t s w h i c h are e n d e d i n re are o f t h e first a n d s e c o n d m o d e . . . c h a n t s w h i c h are e n d e d i n mi are of t h e t h i r d a n d f o u r t h m o d e . . . c h a n t s e n d i n g i n fa are of t h e fifth a n d s i x t h m o d e . . . c h a n t s w h i c h are e n d e d i n sol are of t h e T h o s e e n d i n g o n ut are t o b e a s s i g n e d t o m o d e 5 o r 6 i f at t h o s e p i t c h e s . s e v e n t h a n d e i g h t h m o d e . . .' (6. 2 1 7 ) . T h e n e x t c h a p t e r ( B o o k 6, c h . 7 6 ) d e a l s w i t h c h a n t s e n d i n g o n ut a n d la. t h e y e n d o n C , F, o r c, b e c a u s e of t h e c o i n c i d e n c e a n d a f f i n i t y w i t h fa t o n e s t e p b e n e a t h sol.) c h a n t e n d s o n la,

( T h e r e is a c o i n c i d e n c e w i t h sol o n t h e h i g h e r c, b u t n o a f f i n i t y , b e c a u s e o f t h e w h o l e If ut as final f a l l s o n T , G , o r g , t h e n t h e m o d e is 7 o r 8 . If a it m a y be a s s i g n e d t o m o d e s 1 t o 4 : if it e n d s o n a o r a, t h e r e is b o t h

c o i n c i d e n c e a n d a f f i n i t y w i t h b o t h re a n d mi, so m o d e s 1 t o 4 are a l l p o s s i b l e ; i f it e n d s o n E t h e n mi is t h e o n l y a l t e r n a t i v e s o l m i z a t i o n , a n d t h e c h a n t s h o u l d b e a s s i g n e d t o mode 3 or 4. J a c o b u s c a n b e seen h e r e w o r k i n g o u t w i t h great t h o r o u g h n e s s a t e c h n i q u e of m o d a l i d e n t i f i c a t i o n w h i c h was i m p l i c i t i n G u i d o ' s t e a c h i n g f r o m the b e g i n n i n g , e v e n if not e x p l a i n e d i n G u i d o ' s o w n w r i t i n g s . T h e essence of t h e t e c h n i q u e is t h e u s e o f a n invariable scale-segmentthe m o d a l i t y of a c h a n t . T h e applicable, shown by h e x a c h o r d f o r t o n a l o r i e n t a t i o n . It is n o t b a s i c a l l y p a t t e r n m a d e it i n the chant of d i f f e r e n t f r o m t h e t e c h n i q u e of u s i n g t h e N o e a n n e f o r m u l a s t o fix i n t h e m i n d t h e fact t h a t it w a s a n u n v a r y i n g , a b s t r a c t to any s i t u a t i o n l i k e l y much more to through transposition, the fact that even arise

r e p e r t o r y , a n d it w a s k e y e d s e c u r e l y i n t o t h e s y s t e m of s t a f f - n o t a t i o n . I t s s u c c e s s is i n the complicated tonal designs fourteenth- and tonal orientation. fifteenth-century p o l y p h o n i c m u s i c it c o n t i n u e d t o p r o v i d e a m e a n s of

Plainchant up to the E i g h t h C e n t u r y
VI.1. I N T R O D U C T I O N

T h e rest of t h i s b o o k is a s u r v e y w h i c h a i m s to p r o v i d e a h i s t o r i c a l b a c k g r o u n d t o t h e p r e v i o u s p a r t s . It is n e c e s s a r i l y s k e t c h y , b o t h b e c a u s e of t h e n a t u r e of t h e a n d b e c a u s e of t h e compression evidence early of m a t e r i a l i n v o l v e d . P a r t i c u l a r l y f o r the

c e n t u r i e s , b e f o r e m u s i c w a s n o t a t e d , great c a r e is r e q u i r e d i n c o n s i d e r i n g t h e n a t u r e of w h a t e v e r p l a i n c h a n t m i g h t h a v e b e e n s u n g . T h e issues are u n u s u a l l y c o m p l i c a t e d , m u c h o f t e n d e p e n d i n g o n t h e i n t e r p r e t a t i o n of v e r y b r i e f r e f e r e n c e s , o r e v e n s i n g l e w o r d s . T h e r e is n o s p a c e h e r e f o r a d e t a i l e d e x a m i n a t i o n , a n d c o n s e q u e n t l y n o r o o m f o r m o r e t h a n a r o u g h i n d i c a t i o n of the d i r e c t i o n s i n w h i c h r e c e n t s c h o l a r s h i p been m o v i n g . T h e e v i d e n c e f r o m t h e c e n t u r i e s b e f o r e m u s i c a l n o t a t i o n w a s d e v e l o p e d is p e r f o r c e m o r e u s e f u l f o r t h e h i s t o r y of l i t u r g y t h a n of m u s i c . W h i l e w e c a n l e a r n m u c h a b o u t the l i t u r g i c a l f u n c t i o n of p a r t i c u l a r c h a n t s , w e m u s t c o n t i n u e to s p e c u l a t e a b o u t t h e i r musical character. This p e r i o d w i l l be t r e a t e d only lightly. A special section is n e v e r t h e l e s s g i v e n t o t h e r o l e of G r e g o r y the G r e a t ( d . 6 0 4 ) , w h o s e n a m e , m o r e t h a n any o t h e r , is i n d i s s o l u b l y a s s o c i a t e d w i t h p l a i n c h a n t . A n i m p o r t a n t w a y of f i l l i n g g a p s i n o u r k n o w l e d g e of e a r l y f o r m s of l i t u r g y i n t h e v a r i o u s c h u r c h e s o f C h r i s t e n d o m has b e e n to c o m p a r e t h e m w i t h e a c h o t h e r a n d n o t e p o i n t s of s i m i l a r i t y . W h a t is c o m m o n to t h e m is o f t e n t h e r e s u l t o f a common a n c e s t r y . ( T h e c l a s s i c s t u d y of t h i s t y p e is B a u m s t a r k 1 9 5 8 . ) I n a s i m i l a r f a s h i o n t h o u g h to a f a r l e s s e r d e g r e e t h e v e i l c o v e r i n g m u s i c b e f o r e the n i n t h c e n t u r y c a n b e p i e r c e d b y c o m p a r a t i v e s t u d y of p a r a l l e l c h a n t r e p e r t o r i e s . could i n c l u d e all k n o w n C h r i s t i a n chant repertories. I n t h e o r y s u c h a studyis m a d e i n t h i s book N o attempt has

d i r e c t i o n , h o w e v e r , b e y o n d a l i s t i n g of t h o s e r e p e r t o r i e s i n V I . 2 . L a t e r i n t h e

( V I I I ) the c h a n t w h i c h w e k n o w as ' G r e g o r i a n ' , the s u b j e c t of C h a p t e r I I a b o v e , is placed side b y side w i t h the other p r i n c i p a l W e s t e r n chant repertories w h i c h have c o m e d o w n t o u s : t h e o l d I t a l i a n c h a n t of M i l a n , R o m e , a n d B e n e v e n t o , and O l d have S p a n i s h (or M o z a r a b i c ) c h a n t . It is g e n e r a l l y a g r e e d , as a v e r y b r o a d h y p o t h e s i s , t h a t w h e r e these r e p e r t o r i e s s h o w a n y s o r t of f o r m a l o r m u s i c a l s i m i l a r i t y , a n d yet d e v e l o p e d m o r e o r less i n d e p e n d e n t l y of e a c h o t h e r , the s i m i l a r i t i e s m a y i n d i c a t e a state o f t h e r e p e r t o r y e a r l i e r t h a n t h e o n e that has c o m e d o w n to u s . If w e h a v e t h r e e o r f o u r s i m i l a r v e r s i o n s of c h a n t , the c o m m o n b a s i s of t h o s e v e r s i o n s m a y g o back

e a r l i e r t h a n t h e n i n t h c e n t u r y , b e y o n d t h e t i m e w h e n t h e first n o t a t e d b o o k s a p p e a r e d . Y e t t h e f a c t t h a t t h e s e w e s t E u r o p e a n r e p e r t o r i e s d i v e r g e as m u c h as t h e y d o s u g g e s t s that e x t r e m e c a u t i o n m u s t be exercised i n assessing the p o s s i b l e i n t e r r e l a t i o n s h i p s b e t w e e n W e s t e r n a n d E a s t e r n c h a n t r e p e r t o r i e s . A n d i n t h e E a s t , t o o , t h e a b s e n c e of n o t a t i o n b e f o r e the n i n t h c e n t u r y (or l a t e r s o m e r e p e r t o r i e s w e r e n o t n o t a t e d b e f o r e t h e p r e s e n t c e n t u r y ) raises a f o r m i d a b l e b a r r i e r . The first c o d i f i c a t i o n i n a f o r m of m u s i c a l n o t a t i o n of t h e c h a n t w e k n o w as ' G r e g o r i a n ' is t h e r e s u l t of t h e F r a n k i s h e n d e a v o u r s to e s t a b l i s h R o m a n l i t u r g y a n d its c h a n t as n o r m a t i v e i n t h e i r l a n d . T h e r e is n e v e r t h e l e s s p l e n t y o f e v i d e n c e t h a t t h e F r a n k s d i d not s i m p l y r e p r o d u c e the R o m a n l i t u r g y a n d its m u s i c exactly. E x t e n s i v e l i t u r g i c a l m o d i f i c a t i o n s w e r e necessary to a c c o m m o d a t e l o c a l r e q u i r e m e n t s . A t the same t i m e , the F r a n k s e x p a n d e d the chant r e p e r t o r y i n r a d i c a l l y n e w w a y s : the r e p e r t o r i e s of s e q u e n c e s a n d t r o p e s are t h e b e s t - k n o w n e x a m p l e s of t h i s . T w o o t h e r a c h i e v e m e n t s of t h e n i n t h a n d t e n t h c e n t u r i e s are p l a c e d i n c o n t e x t i m m e d i a t e l y after t h e c h a p t e r o n c o m p o s i t i o n a l a c t i v i t y : t h e c o d i f i c a t i o n of t h e c h a n t r e p e r t o r y w i t h m u s i c a l n o t a t i o n , a n d t h e d e v e l o p m e n t of a b o d y o f w r i t i n g s o n m u s i c t h e o r y . T h e s e h a v e to b e u n d e r s t o o d i n t h e l i g h t of b o t h t h e l i t u r g i c a l r e n e w a l a n d t h e general i n t e l l e c t u a l r e v i v a l of t h e n i n t h c e n t u r y , t h e s o - c a l l e d ' C a r o l i n g i a n r e n a i s s a n c e ' u n d e r C h a r l e m a g n e a n d also t h e ' s e c o n d C a r o l i n g i a n r e n a i s s a n c e ' u n d e r C h a r l e s t h e B a l d . T h e s i g n i f i c a n c e of t h e ' C a r o l i n g i a n c e n t u r y ' is d i s c u s s e d i n C h a p t e r V I I . F o r m a n y c e n t u r i e s b o t h b e f o r e a n d after t h e t i m e w h e n t h e F r a n k s w e r e l e a r n i n g a n d c o d i f y i n g the R o m a n r e p e r t o r y , the B y z a n t i n e E m p i r e a n d c h u r c h offered a political a n d liturgical e x a m p l e w h i c h m i g h t f r o m t i m e to t i m e have b e e n e m u l a t e d i n t h e W e s t . A t a v e r y b a s i c l e v e l , B y z a n t i n e c h a n t also h a s r o o t s i n t h e m u s i c of t h e e a r l y c h u r c h w h i c h it s h a r e d w i t h t h e W e s t e r n c h a n t r e p e r t o r i e s , p e r h a p s d i s c e r n i b l e i n c e r t a i n m u s i c a l f e a t u r e s c o m m o n to b o t h W e s t e r n a n d E a s t e r n c h a n t . O n a m o r e d e t a i l e d l e v e l , w e k n o w of B y z a n t i n e c h a n t s w h i c h w e r e t r a n s l a t e d a n d s u n g i n t h e W e s t , a n d it is p r o b a b l e t h a t t h e e i g h t - m o d e s y s t e m of G r e g o r i a n c h a n t is d e r i v e d f r o m B y z a n t i u m . T h e p o s s i b l e i n f l u e n c e of B y z a n t i n e c h a n t i n t h e W e s t is c o n s i d e r e d in VIII.2. T h e p r i n c i p a l f e a t u r e s of t h e O l d I t a l i a n c h a n t r e p e r t o r i e s are d i s c u s s e d i n V I I I . 3 5. A s already r e m a r k e d , the ' G r e g o r i a n ' r e p e r t o r y was Unfortunately, it s e e m s t h e r e b y to h a v e first codified in Francia. commonly displaced local repertories,

r e f e r r e d to as ' G a l l i c a n ' , b e f o r e t h e y a c h i e v e d w r i t t e n f o r m . T h e s c a n t r e m a i n s of G a l l i c a n c h a n t are d i s c u s s e d a f t e r t h e O l d I t a l i a n r e p e r t o r i e s , i n V I I I . 6 . O l d S p a n i s h c h a n t w a s i n d e e d c o d i f i e d , b u t at a t i m e w h e n d i a s t e m a t i c n o t a t i o n ( i n d i c a t i n g p i t c h p r e c i s e l y ) w a s n o t yet u s e d . O n l y a h a n d f u l of O l d S p a n i s h c h a n t s c a n b e t r a n s c r i b e d t o d a y . N e v e r t h e l e s s , t h e s h a p e of t h e m e l o d i e s c o d i f i e d i n a d i a s t e m a t i c n o t a t i o n c a n b e r e c o g n i z e d s u f f i c i e n t l y w e l l to p e r m i t a f a i r d e g r e e of c e r t a i n t y a b o u t s o m e a s p e c t s of O l d S p a n i s h c h a n t Subsequent settlement. (VIII.7). Carolingian c h a p t e r s p u r s u e the h i s t o r y of W e s t e r n c h a n t a f t e r t h e

VI.2. Baumstark 1958.

T H E C H U R C H E S

OF

C H R I S T E N D O M

T h e s u b j e c t of t h i s b o o k is p l a i n c h a n t i n the W e s t , m e a n i n g the c h a n t s u n g i n t h e E u r o p e a n L a t i n l i t u r g i e s u s e d as f a r east as the areas w h i c h c o r r e s p o n d r o u g h l y t o m o d e r n P o l a n d , C z e c h o s l o v a k i a , a n d H u n g a r y . T o u n d e r s t a n d t h e o r i g i n s of W e s t e r n p l a i n c h a n t , a k n o w l e d g e of t h e e a r l y h i s t o r y of the l i t u r g y is i m p o r t a n t . T h i s i m p l i e s c o n s i d e r a t i o n n o t o n l y of t h e R o m a n l i t u r g y b u t also of o t h e r s , E a s t e r n as w e l l as W e s t e r n . U l t i m a t e l y it is also p o s s i b l e to c o m p a r e t h e c h a n t r e p e r t o r i e s of t h e s e o t h e r rites w i t h W e s t e r n o n e s , t h o u g h i n case of m a n y rites t h e w r i t t e n t r a d i t i o n is v e r y l a t e . Studies between of t h i s t y p e remain the different differences, have, as yet however, hardly begun, It must a n d even also be questions that of basic methodology theological unanswered. admitted contact by the

C h r i s t i a n c o m m u n i t i e s w a s i n t e r r u p t e d at a n e a r l y date b y for example the s e p a r a t i o n of c o m m u n i o n caused

M o n o p h y s i t e a n d o t h e r d i s p u t e s , a n d b y p o l i t i c a l d i v i s i o n s a f t e r the f a l l of t h e R o m a n e m p i r e , so t h a t t h e p r o s p e c t of m e a n i n g f u l m u s i c a l c o m p a r i s o n s is f a i n t . T h e earliest C h r i s t i a n c o m m u n i t y , in Jerusalem, about the year 49. But after the Jewish revolt w a s p r e s i d e d o v e r b y St J a m e s of 66 and consequent Then Roman 326 a f t e r t h e o t h e r A p o s t l e s s p r e a d a b r o a d , a n d w a s the p l a c e of t h e first c h u r c h c o u n c i l of d e s t r u c t i o n of t h e c i t y i n 7 0 J e r u s a l e m had little i m p o r t a n c e . i n about

H e l e n a , m o t h e r of t h e e m p e r o r C o n s t a n t i n e , c a m e t o v e n e r a t e t h e h o l y p l a c e s of t h e c i t y , w h i c h b e g a n a n i m p o r t a n t f a s h i o n of p i l g r i m a g e a n d s e e m s u l t i m a t e l y to h a v e c o n t r i b u t e d to m a k i n g the l i t u r g y m o r e t o p i c a l , c o m m e m o r a t i v e , b o u n d u p w i t h the remembrance of persons, places, and events. Uniquely valuable and detailed d e s c r i p t i o n s of s o m e of its c e r e m o n i e s have s u r v i v e d , w r i t t e n b y t h e p i l g r i m E g e r i a o r E t h e r i a , t h o u g h t to h a v e b e e n a S p a n i s h n u n or a b b e s s , w h o v i s i t e d m a n y p l a c e s i n E a s t e r n C h r i s t e n d o m at t h e e n d of the f o u r t h c e n t u r y (Corpus Latina, 175; Eng. trans. the Gingras 1970, Wilkinson was 1971). created. Chalcedon i n 451 patriarchate of J e r u s a l e m Christianonirn At the A f t e r the Series of Islamic Council

c o n q u e s t of t h e H o l y L a n d i n the 6 3 0 s the p a t r i a r c h r e s i d e d m o s t l y i n C o n s t a n t i n o p l e . A l t h o u g h a f a i r a m o u n t is k n o w n a b o u t the r i t e of J e r u s a l e m (not least f r o m A r m e n i a n a n d G e o r g i a n b o r r o w i n g s ) , t h e r e are of c o u r s e n o r e c o r d s of its m u s i c (see B a l d o v i n 1987, Leeb 1979). centuries the of T h e t w o most i m p o r t a n t M i d d l e Eastern C h r i s t i a n centres i n the early were not J e r u s a l e m b u t A n t i o c h a n d A l e x a n d r i a . The c h u r c h at A n t i o c h i n S y r i a , t r a d i t i o n a l l y f o u n d e d b y S t P e t e r , The was by f o u r t h c e n t u r y t h i r d i n r a n k of t h e p a t r i a r c h a l sees (after R o m e a n d A l e x a n d r i a ) . I n t h e n e x t c e n t u r y it w a s s p l i t b y c h r i s t o l o g i c a l c o n t r o v e r s i e s . Greek church C o n s t a n t i n o p l e a n d t h e L a t i n c h u r c h of R o m e h a v e h e l d to t h e d o c t r i n e t h a t C h r i s t has t w o n a t u r e s , h u m a n a n d d i v i n e , w i t h i n a s i n g l e p e r s o n , a f f i r m e d b y t h e C o u n c i l of Chalcedon. The belief t h a t C h r i s t has t w o separate p e r s o n s as w e l l as natures,

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D i p h y s i t i s m , c o n d e m n e d at t h e C o u n c i l of E p h e s u s i n 4 3 1 , w a s s u p p o r t e d b y p a r t of t h e A n t i o c h e n e c h u r c h , u s u a l l y c a l l e d ' N e s t o r i a n ' ( ' E a s t S y r i a n ' , ' C h u r c h of t h e E a s t ' , o r ' A s s y r i a n ' ) , w h i c h b y the e n d of t h e M i d d l e A g e s h a d a c t u a l l y s p r e a d as f a r as s o u t h I n d i a a n d C h i n a . M o n o p h y s i t i s m , the d o c t r i n e t h a t C h r i s t has o n e n a t u r e a n d p e r s o n , c o n d e m n e d at C h a l c e d o n , w a s s u p p o r t e d b y the ' S y r i a n O r t h o d o x ' ( ' J a c o b i t e ' o r ' W e s t Syrian') churches. p a r t y of the c h u r c h at A n t i o c h as w e l l b y t h e A l e x a n d r i n e a n d A r m e n i a n The l i t u r g y of t h e J a c o b i t e c h u r c h , k n o w n as t h e ' L i t u r g y of S t James' language.

( r e f l e c t i n g i t s s u p p o s e d d e r i v a t i o n f r o m J e r u s a l e m ) , a d o p t e d S y r i a c as its G r e e k i n its l i t u r g y . Books of the Syrian rites were rarely notated, though some

T h e A n t i o c h e n e party w h i c h rejected b o t h heresies was called ' M e l k i t e ' a n d retained notated ones, Syrian (See was of

p r i n c i p a l l y M e l k i t e , have s u r v i v e d . Research H u s m a n n , ' S y r i a n C h u r c h M u s i c ' , NG; accomplished by The name Husmann.) of A l e x a n d r i a , second patriarchate

o n the m u s i c of t h e v a r i o u s

l i t u r g i e s has t h e r e f o r e r e l i e d o n t r a n s c r i p t i o n s m a d e f r o m m o d e r n p e r f o r m a n c e . b y far t h e g r e a t e r p a r t of r e c e n t r e s e a r c h in rank to Rome before the rise

C o n s t a n t i n o p l e , w a s t r a d i t i o n a l l y h e l d to h a v e b e e n f o u n d e d b y S t M a r k , h e n c e t h e ' L i t u r g y of S t M a r k ' f o r its r i t e . T h e known as the Coptic church f r o m ancient Egyptian) c h u r c h o p t e d f o r M o n o p h y s i t i s m . It use of the vernacular became (Coptic, relatively ekphonetic has church became after t h e

descended

i n the l i t u r g y . T h e

i s o l a t e d a f t e r t h e c o n q u e s t of E g y p t b y I s l a m i n 6 4 1 . A l t h o u g h a f o r m of n o t a t i o n m a y have been used i n the tenth a n d eleventh c e n t u r i e s , NG.) T h e E t h i o p i a n c h u r c h is a d a u g h t e r of the S y r i a n J a c o b i t e a n d C o p t i c

C o p t i c chant

b e e n t r a n s m i t t e d to t h e p r e s e n t o n l y o r a l l y . (See B o r s a i , ' C o p t i c R i t e , M u s i c of t h e ' , churches, NG.)

a n d w a s s u b j e c t to the latter u n t i l t h i s c e n t u r y . T h e o l d e s t n o t a t e d s o u r c e s of its c h a n t d a t e f r o m t h e s i x t e e n t h c e n t u r y . (See H a n n i c k , ' E t h i o p i a n R i t e , M u s i c of t h e ' , T h e A r m e n i a n c h u r c h w a s r e c o g n i z e d b y the c o u n t r y ' s r u l e r , T i r i d a t e s I I I , i n 3 0 1 , e v e n b e f o r e t h e R o m a n e m p e r o r C o n s t a n t i n e ' s t o l e r a t i o n of C h r i s t i a n i t y . It b e c a m e schismatic half a century after C h a l c e d o n . E l e m e n t s of i t s l i t u r g y are a faithful r e p r o d u c t i o n of t h e J e r u s a l e m l i t u r g y of the f i f t h c e n t u r y ( R e n o u x 1 9 6 1 - 2 , 1 9 6 9 - 7 1 ) . B o t h an ekphonetic liturgical books, The century. a n d a n i n d i g e n o u s c h a n t n o t a t i o n are k n o w n f r o m A r m e n i a n (See Hannick, the the NG.) Monophysite from sixth s a i d to d a t e f r o m as e a r l y as t h e n i n t h c e n t u r y .

' A r m e n i a n R i t e , M u s i c of t h e ' ,

c h u r c h of G e o r g i a d a t e s f r o m t h e f o u r t h c e n t u r y . S i n c e the d e v e l o p m e n t

C o u n c i l of C h a l c e d o n o n w a r d s , it r e t u r n e d to o r t h o d o x y at t h e e n d of t h e G e o r g i a n monasteries i n the H o l y L a n d (St Sabas near Jerusalem

of t h e G e o r g i a n r i t e w a s m u c h i n f l u e n c e d b y

and on M o u n t

S i n a i ) , it m a y i n c o r p o r a t e s o m e elements of the c h a n t of J e r u s a l e m

(see T a r c h n i s c h v i l i

1 9 5 9 - 6 0 ) . G e o r g i a n l e c t i o n a r i e s w i t h B y z a n t i n e e k p h o n e t i c n o t a t i o n s u r v i v e f r o m as e a r l y as t h e t e n t h c e n t u r y , a n d c h a n t - b o o k s i n an i n d i g e n o u s n o t a t i o n are a p p a r e n t l y equally ancient. ( S e e H a n n i c k , ' G e o r g i a n R i t e , M u s i c of t h e ' , NG.) I n 3 3 0 C o n s t a n t i n e r e f o u n d e d C o n s t a n t i n o p l e a n d m a d e it h i s c a p i t a l , o n t h e site of

G r e e k B y z a n t i u m , w h i c h a p p e a r s to h a v e h a d a C h r i s t i a n c o m m u n i t y f r o m t h e s e c o n d c e n t u r y . A t a c o u n c i l i n t h e c i t y i n 381 the b i s h o p w a s g i v e n p r e c e d e n c e s e c o n d o n l y to R o m e , a n d b e c a m e p a t r i a r c h i n 4 5 1 . M u c h of its e a r l y l i t u r g y a p p e a r s to h a v e d e r i v e d f r o m A n t i o c h , w h e n c e S t J o h n C h r y s o s t o m c a m e i n 3 9 8 to b e its b i s h o p . T h e l i t u r g y i n g e n e r a l use s t i l l b e a r s h i s n a m e . T h a t r e s e r v e d f o r t h e S u n d a y s of L e n t the F e a s t of S t B a s i l (1 J a n u a r y ) is k n o w n as t h e L i t u r g y of S t B a s i l ( d . as w e l l . It w a s t r a n s l a t e d i n t o O l d S l a v o n i c b y S S (except P a l m S u n d a y ) , M a u n d y T h u r s d a y , the E v e s of E a s t e r , C h r i s t m a s , a n d E p i p h a n y , a n d 379). T h e p o l i t i c a l s u p r e m a c y of B y z a n t i u m e v e n t u a l l y l e n t g r e a t i n f l u e n c e to its l i t u r g y C y r i l a n d M e t h o d i u s u p o n the c o n v e r s i o n of the S l a v s of M o r a v i a i n t h e m i d - n i n t h c e n t u r y , a n d w h e n V l a d i m i r , p r i n c e of K i e v , w a s b a p t i z e d i n 9 8 8 , he also i n t r o d u c e d t h e B y z a n t i n e l i t u r g y i n O l d S l a v o n i c . W h i l e the G r e e k e x p a n s i o n into M o r a v i a was s h o r t - l i v e d i t clashed w i t h German political intereststhe Slavonic liturgy was permanently f r o m the ninth century established in B u l g a r i a ( f r o m the m i d - n i n t h c e n t r y ) a n d S e r b i a ( f r o m the t e n t h ) . W e have m u s i c a l d o c u m e n t a t i o n of B y z a n t i n e chant (ekphonetic notation p o s s i b l y f r o m e v e n e a r l i e r ) , of R u s s i a n c h a n t f r o m t h e late e l e v e n t h , of B u l g a r i a n c h a n t o n l y f r o m t h e t h i r t e e n t h , a n d S e r b i a n f r o m t h e f i f t e e n t h . ( B y z a n t i n e c h a n t is d i s c u s s e d b r i e f l y b e l o w , V I 1 1 . 2 ; o n the S l a v o n i c f a m i l i e s of c h a n t see 'Russian and Slavonic C h u r c h Music', The NG.) the Velimirovic,

p a t r i a r c h a t e of R o m e c o i n c i d e d m o r e o r less w i t h t h e w e s t e r n h a l f of

R o m a n empire, c o m p r i s i n g Italia, Illyricum, Africa, H i s p a n i a , G a l l i a , and B r i t a n n i a . T h e b i s h o p s of R o m e i n t h e first t w o c e n t u r i e s w e r e a l l G r e e k - s p e a k i n g . Greek r e m a i n e d the language of the R o m a n l i t u r g y u n t i l the f o u r t h c e n t u r y ( K l a u s e r 1946). W e s h o u l d i n a n y case e x p e c t a s t r o n g s i m i l a r i t y to h a v e e x i s t e d b e t w e e n t h e r i t e s of t h e v a r i o u s C h r i s t i a n c h u r c h e s at t h i s e a r l y p e r i o d . T h i s m e a n s t h a t , w i t h d u e c a u t i o n , e v i d e n c e a b o u t o n e c h u r c h c a n b e c o n s i d e r e d f o r its r e l e v a n c e to a n o t h e r . T h e t h e p e r i o d , t h e less safe d o e s t h i s b e c o m e , f o r it is b y t h e n a m a t t e r of later assessing

i n f l u e n c e s u p o n e s t a b l i s h e d l i t u r g i e s , r a t h e r t h a n t h e d e v e l o p m e n t of s i m i l a r usages f r o m c o m m o n o r i g i n s . T h e g e n e r a l p i c t u r e a p p e a r s to b e o n e of g r e a t c o n s e r v a t i s m at R o m e i n face of n e w l i t u r g i c a l d e v e l o p m e n t s . R o m e ' s p o l i t i c a l i m p o r t a n c e d w i n d l e d after t h e e s t a b l i s h m e n t of C o n s t a n t i n o p l e ; it w a s r e p l a c e d at t i m e s b y M i l a n and R a v e n n a as i m p e r i a l r e s i d e n c e , a n d it s u f f e r e d f r o m b a r b a r i a n i n v a s i o n a n d f r o m w a r s b e t w e e n t h e B y z a n t i n e e m p i r e a n d G o t h s a n d L o m b a r d s . Y e t t h i s d i d n o t w e a k e n its c o n s t a n c y to l i t u r g i c a l t r a d i t i o n . O n the o t h e r h a n d , t h e c o n s i d e r a b l e i n d e p e n d e n c e of o t h e r W e s t e r n uses f r o m t h o s e of R o m e m a y be a t t r i b u t e d to its p o l i t i c a l w e a k n e s s . S i n c e it is b y n o m e a n s easy t o t r a c e the d e v e l o p m e n t of R o m a n l i t u r g i c a l use t h r o u g h the v i c i s s i t u d e s of the early centuries (the until eighth the and time from which centuries), we first have to comprehensive liturgical books ninth attempts

u n d e r s t a n d i t s c h a n t i n a n y d e t a i l are e x t r e m e l y d i f f i c u l t . A q u i l e i a i n n o r t h I t a l y a s s u m e d the r a n k of p a t r i a r c h a t e i n the s i x t h c e n t u r y , f r o m t h e s e v e n t h c e n t u r y b e i n g s p l i t i n t o t w o seats, o n e at G r a d o , t h e o t h e r at C i v i d a l e . Despite Aquileian speculation chant about an independent rite and even an independent its e a r l y Old repertory, p r a c t i c a l l y n o t h i n g is k n o w n a b o u t liturgy.

2.

The

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of Christendom

483

R a v e n n a a n d M i l a n b o t h d e v e l o p e d local rites.

R a v e n n a w a s seat of t h e i m p e r i a l

r e s i d e n c e i n t h e fifth c e n t u r y , a n d c a p i t a l of the B y z a n t i n e E x a r c h a t e f r o m 5 4 0 to 7 5 1 . A g a i n , v e r y l i t t l e is k n o w n of a n i n d e p e n d e n t m u s i c a l r e p e r t o r y . M i l a n , o n t h e o t h e r h a n d , has r e t a i n e d its l i t u r g i c a l i n d e p e n d e n c e repertory, first u n t i l t h e p r e s e n t d a y , a n d its c h a n t constitutes prime evidence of the codified i n the twelfth century,

d e g r e e to w h i c h l o c a l uses v a r i e d i n t h e e a r l y M i d d l e A g e s . It has b e e n a r g u e d t h a t the p o l i t i c a l l i n k b e t w e e n M i l a n a n d B e n e v e n t o i n s o u t h I t a l y , first u n d e r t h e O s t r o g o t h s , t h e n t h e L o m b a r d s , p r o v i d e d t h e b a s i s of a s i m i l a r c h a n t r e p e r t o r y i n t h e t w o c i t i e s . A t a n y r a t e , b y t h e t i m e of t h e w r i t i n g d o w n of c h a n t l o c a l I t a l i a n c h a n t r e p e r t o r i e s see b e l o w , V I I I . 3 - 5 . ) T h e c h u r c h in N o r t h A f r i c a , centred on Carthage, used a L a t i n Bible and liturgy e v e n b e f o r e t h e c h u r c h i n R o m e , b u t l i t t l e is k n o w n i n d e t a i l of i t s r i t e . W e a k e n e d b y the V a n d a l conquest ( 4 2 9 ) t h e V a n d a l s were A r i a n C h r i s t i a n s r e s t o r e d b y the r e c o n q u e s t u n d e r J u s t i n i a n ( 5 3 4 ) , t h e c h u r c h f a d e d a f t e r t h e A r a b c o n q u e s t at t h e e n d of t h e s e v e n t h c e n t u r y . N o t h i n g of its m u s i c a l r e p e r t o r y is k n o w n . The t e r m ' G a l l i c a n ' has b e e n u s e d to i n d i c a t e a l l t h e v a r i o u s n o r t h I t a l i a n rites i n d e p e n d e n t of R o m e a n d t h o s e of G a u l a n d S p a i n as w e l l . A l t e r n a t i v e l y , t h e l i t u r g i e s of S p a i n , G a u l , a n d the C e l t i c l a n d s ( p r i m a r i l y I r e l a n d ) h a v e b e e n g r o u p e d t o g e t h e r . T h e t e r m is u s u a l l y n o w r e s t r i c t e d to the l i t u r g i e s of G a u l a l o n e . T h e e v i d e n c e f o r t h e s e is i n c o m p l e t e a n d t h e r e w a s d o u b t l e s s c o n s i d e r a b l e v a r i a t i o n f r o m a r e a to area a n d f r o m c e n t u r y to c e n t u r y . ( W e are best i n f o r m e d a b o u t t h e c h u r c h i n t h e Frankish-Roman liturgy i n the eighth and n i n t h centuries. Rhone of v a l l e y . ) N o w r i t t e n r e c o r d of G a l l i c a n c h a n t was m a d e b e f o r e t h e e s t a b l i s h m e n t of t h e A certain amount G a l l i c a n m a t e r i a l s u r v i v e s , h o w e v e r , i n ' G r e g o r i a n ' b o o k s . T h e n a t u r e of G a l l i c a n c h a n t a n d t h e w a y it d i f f e r e d f r o m R o m a n is n e v e r t h e l e s s n o t easy to d e f i n e , n o t least b e c a u s e of t h e d i f f e r e n c e s b e t w e e n the t w o v e r s i o n s of t h e R o m a n c h a n t repertory w h i c h h a v e c o m e d o w n to u s : t h e ' G r e g o r i a n ' , first c o d i f i e d b y t h e F r a n k s i n l a n d s where the G a l l i c a n rite had been used, a n d ' O l d R o m a n ' , the chant f o u n d i n books f r o m R o m e i t s e l f . It is p o s s i b l e to a r g u e that ' G r e g o r i a n ' c h a n t is at least i n s o m e r e s p e c t a ' G a l l i c a n i z e d ' v e r s i o n of the R o m a n r e p e r t o r y (see u n t i l t h e t i m e w h e n A u g u s t i n e of C a n t e r b u r y ( d . 6 0 4 o r 6 0 5 ) this happened during the sixth and seventh centuries, VIII.6). a n d later c h u r c h m e n remained customs B y t h e e x p r e s s i o n ' C e l t i c c h u r c h ' is u s u a l l y m e a n t t h e c h u r c h i n B r i t a i n a n d I r e l a n d b r o u g h t R o m a n u s a g e s , w h i c h g r a d u a l l y s u p p l a n t e d C e l t i c o n e s . F o r m o s t of E n g l a n d while Ireland u n a f f e c t e d u n t i l c o n s i d e r a b l y l a t e r . T h e p r o c e s s of c o n v e r s i o n t o R o m a n eighth and n i n t h centuries. i n the B e n e v e n t a n region, a n o t h e r l o c a l r e p e r t o r y d i f f e r e n t f r o m the R o m a n h a d o b v i o u s l y d e v e l o p e d . ( O n the

f o r m s a p a r a l l e l , s o m e t w o c e n t u r i e s e a r l i e r , w i t h t h e c h a n g e i n F r a n c i a d u r i n g the It s h o u l d be e m p h a s i z e d t h a t , e v e n less t h a n i n G a u l , t h e r e is l i t t l e e v i d e n c e of a c e n t r a l l y o r g a n i z e d c h u r c h w i t h a ' u s e ' p r e s c r i p t i v e w i t h i n a d i o c e s e . A l m o s t n o c h a n t w h i c h c a n be c o n s i d e r e d a u t h e n t i c a l l y C e l t i c has s u r v i v e d : t h e c h a n g e to R o m a n use i n E n g l a n d o c c u r r e d l o n g b e f o r e m u s i c a l n o t a t o n w a s u s e d , a n d n o n o t a t e d b o o k s s u r v i v e f r o m I r e l a n d u n t i l t h o s e of t h e t h i r t e e n t h c e n t u r y , b a s e d o n E n g l i s h ( S a r u m ) use.

T h e o t h e r b r a n c h of t h e R o m a n c h u r c h f o r w h o s e r i t e n o t o n l y t h e t e x t s b u t a l s o t h e m u s i c a c h i e v e d c o d i f i c a t i o n w a s t h a t of S p a i n . V a r i o u s t e r m s h a v e b e e n the fifth century until the Islamic much i n v a s i o n of t h e can be learnt eighth), used to d e s i g n a t e t h i s r i t e a n d its c h a n t : ' V i s i g o t h i c ' ( S p a i n w a s r u l e d b y t h e V i s i g o t h s f r o m 'Old Spanish', and ' M o z a r a b i c ' (a t e r m p r o p e r l y u s e d t o d e s i g n a t e t h e C h r i s t i a n p o p u l a t i o n l i v i n g u n d e r Arab dominion). Although about its m u s i c , practically all s u r v i v i n g c h a n t s are r e c o r d e d i n a d i a s t e m a t i c n o t a t i o n . T h e c o m i n g of p i t c h - s p e c i f i c n o t a t i o n c o i n c i d e d w i t h t h e r e c o n q u e s t of S p a i n f r o m t h e M o o r s a n d t h e i m p o r t a t i o n of t h e F Y a n k i s h - R o m a n r i t e a n d G r e g o r i a n c h a n t . W e h a v e a l m o s t n o m a n u s c r i p t s w i t h O l d S p a n i s h chant after this event, and c o n s e q u e n t l y almost no records i n p i t c h s p e c i f i c n o t a t i o n (see VIII.7).

It w i l l b e c l e a r f r o m t h i s b r i e f o u t l i n e that r e c o n s t r u c t i o n of t h e c h a n t of t h e e a r l y c h u r c h is e x t r e m e l y h a z a r d o u s . B y t h e t i m e w r i t t e n r e c o r d s of t h e c h a n t r e p e r t o r y of a n y of t h e b r a n c h e s of t h e C h r i s t i a n c h u r c h w e r e m a d e , t h e y h a d h a d a m p l e t i m e t o develop along independent lines, through centuries of often radically changing c i r c u m s t a n c e s w h i c h cannot fail to have h a d a c o n s i d e r a b l e i m p a c t o n the l i t u r g y a n d its m u s i c . I n t h e n e x t t w o s e c t i o n s t h e h i s t o r y of t h e m o s t i m p o r t a n t m u s i c a l f o r m s of t h e R o m a n c h a n t are o u t l i n e d a n d p a r a l l e l s are d r a w n w i t h c h a n t s of o t h e r r i t e s w h e r e a p p r o p r i a t e . T h e e m p h a s i s is u p o n t h e o t h e r W e s t e r n r i t e s . S i n c e a l m o s t n o t h i n g o f t h e c h a n t of t h e C e l t i c l a n d s s u r v i v e s I h a v e l a r g e l y d i s r e g a r d e d C e l t i c p r a c t i c e s Warren rites. 1881/1987; C u r r a n 1984). D e s p i t e the lean evidence (see regarding Gallican

p r a c t i c e s , I h a v e d r a w n u p o n t h e m m o r e r e g u l a r l y to p o i n t u p s i m i l a r i t i e s w i t h o t h e r

VI.3.

T H E E A R L Y

C H U R C H

S t a b l e i n , ' F r u h c h r i s t l i c h e M u s i k ' , MGG; H a n n i c k , ' C h r i s t i a n C h u r c h , M u s i c of the E a r l y ' , NG; S m i t h 1984; M c K i n n o n 1986, 1987, Music, Until the s o - c a l l e d E d i c t of the freedom of Milan of 3 1 3 , by w h i c h Constantine adherents and of Licinius other

sanctioned

w o r s h i p of

Christians (and

any

religions), C h r i s t i a n s were often persecuted savagely, religious meetings took place i n p r i v a t e , o f t e n i n s e c r e t , a n d p u b l i c w o r s h i p was i m p o s s i b l e . I n t h e s e been u n f o r m a l i z e d . U n t i l r e c e n t l y it h a d b e e n a s s u m e d that the J e w i s h B o o k of P s a l m s c o n s t i t u t e d a c h i e f s o u r c e of t e x t s f o r s i n g i n g i n the e a r l y c h u r c h , a n d that c o n t i n u i t y m u s t h a v e e x i s t e d b e t w e e n J e w i s h a n d e a r l y C h r i s t i a n w o r s h i p . T h i s v i e w is n o l o n g e r a c c e p t e d . H a n n i c k ( ' C h r i s t i a n C h u r c h , M u s i c of t h e E a r l y ' , NG) has s u m m a r i z e d t h e large circumstances have the o r d e r of w o r s h i p r e m a i n e d s i m p l e a n d w a s i n m a n y r e s p e c t s l i k e l y to

n u m b e r o f w i t n e s s e s t o t h e s i n g i n g of n o n - p s a l m o d i c h y m n s , a n d b o t h S m i t h ( 1 9 8 4 ) and M c K i n n o n (1986) have p r o v i d e d a m p l e evidence that J e w i s h p u b l i c w o r s h i p c o u l d have g i v e n to C h r i s t i a n w o r s h i p neither its f o r m n o r its content. T w o types of J e w i s h w o r s h i p enter the m a t t e r , that of the T e m p l e i n J e r u s a l e m , a n d that of t h e s y n a g o g u e s (synagoge is t h e G r e e k t r a n s l a t i o n of H e b r e w heth ha-knesset: 'place of a s s e m b l y ) . I n the g r a n d setting of the T e m p l e a different p s a l m f o r each d a y of t h e w e e k w a s s u n g , w i t h i n s t r u m e n t a l a c c o m p a n i m e n t , at t h e d a i l y s a c r i f i c e ; t h e H a l l e l p s a l m s , P s s . 1 1 3 - 1 8 , w h i c h have the r e f r a i n ' A l l e l u i a ' , w e r e also s u n g o n i m p o r t a n t d a y s of t h e J e w i s h year. B o t h because of their special associations a n d their special m a n n e r of p e r f o r m a n c e , it seems u n l i k e l y that these p s a l m s w o u l d have b e e n a d o p t e d b y t h e s m a l l , private g r o u p s of C h r i s t i a n s . T h e T e m p l e was d e s t r o y e d b y t h e R o m a n s i n t h e year 7 0 . T h e evidence f r o m the synagogue is e q u a l l y u n p r o m i s i n g , f o r a d i f f e r e n t r e a s o n . T h e r e is n o e v i d e n c e t h a t i n N e w T e s t a m e n t t i m e s m e e t i n g s i n t h e s y n a g o g u e w e r e f o r w o r s h i p i n t h e n o r m a l sense o f t h e w o r d . T h e s y n a g o g u e w a s a secular rather t h a n a n e x c l u s i v e l y religious m e e t i n g place. W h i l e passages of s c r i p t u r e ( i n c l u d i n g passages f r o m the psalms) were u n d o u b t e d l y read there a n d e x p o u n d e d , it was not n o r m a l l y a place of prayer or p s a l m - s i n g i n g . I n the decades after t h e d e s t r u c t i o n o f t h e T e m p l e , w h i c h r e m o v e d at a s t r o k e t h e w h o l e f o c u s o f I s r a e l ' s r e l i g i o u s life, s o m e t h i n g like a n o r d e r e d service of w o r s h i p b e c a m e established i n the synagogues, a partial substitute f o r what h a d been lost. B u t p s a l m - s i n g i n g , o r m o r e specifically t h e s i n g i n g of t h e daily psalms once used i n t h e T e m p l e , w a s o n e of the last e l e m e n t s of T e m p l e w o r s h i p t o b e t a k e n u p i n t h e s y n a g o g u e , t o j u d g e b y i t s a b s e n c e f r o m d o c u m e n t s of J e w i s h r e l i g i o u s t e a c h i n g b e f o r e t h e s i x t h c e n t u r y . M o r e p r o m i s i n g is t h e e v i d e n c e l i n k i n g C h r i s t i a n r e l i g i o u s m e e t i n g s w i t h p r i v a t e J e w i s h r e l i g i o u s e x e r c i s e s . T h e p r a y e r s shema liturgy, were to b e r e c i t e d a n d tefillah, both part of the T e m p l e psalms were s u n g at t h e privately, a n d the H a l l e l

c e r e m o n i a l m e a l , t h e S e d e r , at P a s s o v e r . I n d e e d , if t h e L a s t S u p p e r o f C h r i s t a n d t h e d i s c i p l e s t o o k p l a c e o n t h e first n i g h t o f P a s s o v e r , t h e l i k e l i h o o d is t h a t t h e ' h y m n ' t h e y sang ( M a t t . 2 6 : 30, M a r k 14: 26) was the H a l l e l . M o s t e a r l y r e f e r e n c e s t o s i n g i n g d u r i n g C h r i s t i a n w o r s h i p are t o o v a g u e l y e x p r e s s e d to b e v e r y e n l i g h t e n i n g . T h e w o r d s ' p s a l m ' a n d ' h y m n ' u s u a l l y h a v e o n l y t h e g e n e r a l m e a n i n g of ' s o n g o f p r a i s e ' , a n d c a n n o t u n c o n d i t i o n a l l y b e c o n n e c t e d w i t h t h e O l d T e s t a m e n t psalms, or w i t h a n y particular poetic o r m u s i c a l f o r m . It h a s b e e n a r g u e d that s o m e e a r l y C h r i s t i a n s o n g s a r e q u o t e d i n p a s s a g e s s u c h as 1 T i m . 3 : 16, o r R e v . 4 : 8, b u t n e i t h e r c o n s t i t u t e s c o n c l u s i v e e v i d e n c e 1987, Music, Syrian (McKinnon 1 6 - 1 7 ) . F e w n e w l y c o m p o s e d texts h a v e c o m e d o w n t o u s . T h e f o r t y are c o m p o s i t i o n s l i k e t h e O l d T e s t a m e n t composition (McKinnon psalms, a n d m a y be 1 9 8 7 , Music, 23-4;

t w o ' O d e s o f S o l o m o n ' , p e r h a p s w r i t t e n t o w a r d s t h e e n d o f t h e first c e n t u r y b y a Christian, representative of n e w C h r i s t i a n

C h a r l e s w o r t h 1 9 7 7 ) . M u c h h a s b e e n l o s t , n o t least t h e h e r e t i c a l h y m n s o f B a r d e s a n e s ( B a r - D a i s a n ) of A n t i o c h ( 1 5 4 - 2 2 2 ) a n d P a u l o f S a m o s a t a , b i s h o p o f A n t i o c h i n t h e t h i r d century. T h e i r p o p u l a r i t y and consequent danger to o r t h o d o x C h r i s t i a n s seems to h a v e a r o u s e d s u s p i c i o n a g a i n s t a l l n o n - b i b l i c a l c h a n t s , w h i c h w e r e t h e n b a n n e d i n

272 at t h e s e c o n d S y n o d of A n t i o c h a n d i n t h e f o u r t h - c e n t u r y C a n o n s o f L a o d i c e a (the r e f e r e n c e is t o idiotikous psalmous: M c K i n n o n 1 9 8 7 , Music, 119). orthodox S o m e t h i n g of t h e n a t u r e o f B a r d e s a n e s ' songs c a n p e r h a p s be gleaned f r o m the

s o n g s o f E p h r e m o f E d e s s a ( d . 3 7 3 ) , w h o is s u p p o s e d t o h a v e c o m p o s e d f a t h e r ' s h e r e t i c a l p o e m s . P r o m i n e n t a m o n g t h e m are t h e madrasha, s o n g w i t h c h o r a l r e f r a i n , a n d t h e sogitha, nearest e q u i v a l e n t s Much h y m n s o f P a s s i o n t i d e : Gloria i n the medieval Western of e a r l y liturgy are perhaps rnortuorum,

c o n t r a f a c t a t o t h e m e l o d i e s w h i c h H a r m o n i o s , s o n of B a r d e s a n e s , h a d w r i t t e n f o r h i s a strophic solo Their lingua. been from the processional a n d Pange have a strophic song i n dialogue f o r m .

laus et honor, Audi iudex

of the m u s i c a l c o m p o n e n t

Christian worship must

i m p r o v i s e d o r at least p e r f o r m e d as t h e o c c a s i o n d e m a n d e d , a c c o r d i n g t o n o f i x e d order of service. S o m e t h i n g of the character of t h e s e r v i c e s m a y b e g l e a n e d 1 C o r . 14: 2 6 - 7 , w h e r e P a u l c o m m e n t s o n what seems to be a largely i m p r o v i s e d type of w o r s h i p , p r o b a b l y p r e v a l e n t i n o t h e r p l a c e s as w e l l as C o r i n t h : ' W h e n y e c o m e together, every one of y o u hath a p s a l m , hath a d o c t r i n e , hath a tongue, hath a r e v e l a t i o n , h a t h a n i n t e r p r e t a t i o n . ' It h a s also b e e n s u p p o s e d t h a t e a r l y C h r i s t i a n w o r s h i p m i g h t o c c a s i o n a l l y have r e s e m b l e d that of other sects, f o r e x a m p l e t h e p r e C h r i s t i a n m o n a s t i c T h e r a p e u t a e f r o m near A l e x a n d r i a , w h o s e w o r s h i p i s d e s c r i b e d b y P h i l o i n t h e early first c e n t u r y ( e d . C o n y b e a r e 1895, c h . 11). H e r e t h e believers rise after t h e i r S a b b a t h m e a l , f o r m a c h o i r of m e n a n d a c h o i r o f w o m e n , w i t h a m u s i c a l l y e x p e r i e n c e d l e a d e r . T h e y s i n g h y m n s of v a r i e d t y p e s , s o m e t o g e t h e r , s o m e a l t e r n a t i m (antiphonois). celebrated O n t h e other h a n d , i n one i m p o r t a n t d e s c r i p t i o n of t h e e u c h a r i s t , o n S u n d a y m o r n i n g , w r i t t e n b y J u s t i n M a r t y r ( r 1 0 0 - c . 165) i n R o m e , 20).

t h e r e i s n o r e f e r e n c e t o s i n g i n g of a n y sort ( M c K i n n o n 1 9 8 7 , Music, first three centuries the eucharist

T h e d i s t i n c t i o n b e t w e e n e u c h a r i s t a n d o t h e r f o r m s of w o r s h i p is i m p o r t a n t . I n t h e was c o m m o n l y the c u l m i n a t i o n of a c o m m o n S i n g i n g clearly took place d u r i n g the agape. mentions Tradition, century, with Thus religious m e a l , the agape o r love-feast.

T e r t u l l i a n , w r i t i n g at C a r t h a g e i n t h e c l o s i n g years of t h e s e c o n d c e n t u r y , Music, 43, Taft 1985, 2 6 - 7 ) . priest A document k n o w n as t h e Apostolic third

b o t h s i n g i n g ' f r o m the sacred scriptures' a n d i m p r o v i s e d s i n g i n g ( M c K i n n o n 1987, attributed describes to the R o m a n a n agape w h e r e H i p p o l y t u s , w r i t t e n i n the early

the Hallel

p s a l m s are s u n g b y v a r i o u s p e r s o n s ,

' A l l e l u i a ' as t h e r e f r a i n ( M c K i n n o n , 4 7 ) . If n o t b y t h e a g a p e ( w h i c h g r a d u a l l y f e l l o u t of u s e ) , t h e n t h e e u c h a r i s t m i g h t b e p r e c e d e d b y o t h e r c u s t o m a r y o b s e r v a n c e s . i n c o m m e n t i n g o n a c h a r i s m a t i c sister of t h e M o n t a n i s t m o v e m e n t , T e r t u l l i a n s a y s she is i n s p i r e d b y t h e v a r i o u s c o m p o n e n t s of t h e s y n a x i s w h i c h p r e c e d e s t h e e u c h a r i s t : scriptural readings, psalms, a h o m i l y , and prayers. T h e u s u a l t i m e f o r t h e agape and/or e u c h a r i s t w a s t h e e v e n i n g . O f t h e p o s s i b l e m u s i c a l c o m p o n e n t , i f a n y , o f r e l i g i o u s o b s e r v a n c e s at o t h e r t i m e s o f t h e d a y w e k n o w l i t t l e . T h e Apostolic Tradition describes a n u m b e r of o c c a s i o n s for private prayer d u r i n g t h e d a y , a n d a m o r n i n g c o m m u n a l a s s e m b l y f o r i n s t r u c t i o n as w e l l as t h e c o m m o n evening meal. A l t h o u g h w e c a n s p e c u l a t e , o n t h e basis of later e v i d e n c e , as t o w h i c h t e x t s m i g h t

have

been

sung during

these religious observances,

we

have

almost

no

precise has

evidence. T h e

s a m e is n a t u r a l l y t r u e of t h e i r m u s i c . T h e

single piece w h i c h

s u r v i v e d ( f r a g m e n t a r i l y ) , t h e h y m n r e c o r d e d o n t h e O x y r h y n c h u s p a p y r u s of t h e late t h i r d c e n t u r y , i n E g y p t , raises as m a n y q u e s t i o n s as it a n s w e r s ( f a c s i m i l e a n d v a r i o u s t r a n s c r i p t i o n s i n S t a b l e i n , ' F r u h c h r i s t l i c h e M u s i k ' , MGG). in the authentic G-mode (or, less anachronistically T h e Greek vocal notation stated, u s i n g the diatonic w i t h r h y t h m i c s i g n s a l l o w s a r e l a t i v e l y s e c u r e t r a n s c r i p t i o n . It a p p e a r s to b e a s o l o s o n g H y p o l y d i a n s c a l e ) , w i t h t e x t s i n a n a p a e s t i c d i m e t e r . A l t h o u g h t h e t e x t is s a c r e d , it is i m p o s s i b l e t o say w h e t h e r t h e m u s i c is t y p i c a l of its t i m e a n d p l a c e , e i t h e r i n its r h y t h m or its m e l o d i c style. T h e piece was r e c o r d e d o n the back of an (earlier) cereals a c c o u n t , t h u s f o r p r i v a t e p u r p o s e s . Its f u n c t i o n (if a n y ) i n c o n t e m p o r a r y C h r i s t i a n worship remains unclear.

VI.4.

O F F I C E C H A N T S

B E F O R E T H E E I G H T H

C E N T U R Y

S t a b l e i n , ' F r u h c h r i s t l i c h e M u s i k ' , MGG\ H a n n i c k , ' C h r i s t i a n C h u r c h , M u s i c of the E a r l y ' , NG\ B a u m e r 1905; H u c k e 1953, ' E n t w i c k l u n g , 1973; S a l m o n 1959, 1967; J u n g m a n n 1960; H e i m i n g 1961; L e e b 1967; W i n k l e r 1974; C h e s l y n Jones et al. 1978, c h . V ; B r a d s h a w 1981; T a f t 1985; M c K i n n o n 1987, Music\ D y e r 1989, ' M o n a s t i c ' . T h e o f f i c i a l t o l e r a t i o n of C h r i s t i a n i t y a n d t h e e n d o f p e r s e c u t i o n m u s t h a v e h a d w i d e ranging consequences information about the f o r t h e f o r m a n d c o n t e n t of w o r s h i p . It is n o a c c i d e n t l i t u r g y is m u c h m o r e p l e n t i f u l f r o m the fourth that century

o n w a r d s . It is o f t e n n o easier to i n t e r p r e t t h a n t h a t f r o m t h e p r e v i o u s p e r i o d b e c a u s e of t h e d i f f e r e n c e s of o b s e r v a n c e b e t w e e n d i f f e r e n t a r e a s . B u t f r o m t h e f o u r t h c e n t u r y it is p o s s i b l e t o see c l e a r l y m a n y of the c h i e f c h a r a c t e r i s t i c s of t h e l i t u r g y f a m i l i a r t o us f r o m t h e M i d d l e A g e s . T w o d e v e l o p m e n t s are p a r t i c u l a r l y i m p o r t a n t . F i r s t , p u b l i c w o r s h i p b e c a m e a m a t t e r of m o r e o r g a n i z e d c e r e m o n i a l c o n d u c t e d b y t r a i n e d p e r s o n n e l i n c h u r c h e s b u i l t f o r t h e p u r p o s e . B y t h e e n d of t h e f o u r t h c e n t u r y w e h a v e a m p l e e v i d e n c e of f o r m a l l i t u r g i e s of v a r i o u s k i n d s . T h i s m e a n s , f o r e x a m p l e , t h a t s o n g s w e r e p e r f o r m e d b y c a n t o r s s p e c i a l l y d e t a i l e d to c a r r y o u t t h i s d u t y , r a t h e r t h a n b y a n y p e r s o n p r e s e n t i n s p i r e d to s i n g (see H u c k e 1953, ' E n t w i c k l u n g ' , 1 7 7 - 8 5 , w i t h i n f o r m a t i o n o n t h e f o r m a t i o n of t h e t r a i n e d c h o i r ; a l s o F o l e y 1 9 8 2 , F a s s l e r M c K i n n o n 1987, Music, liturgy described that more 1985, 109). T h e c e r e m o n i a l aspects of w o r s h i p w e r e e l a b o r a t e d i n b i s h o p of M o p s u e s t i a ( 3 9 2 - 4 2 8 ) , m a y have p r o v i d e d the north-west for of new

o r d e r to a d d m y s t e r y a n d i n s p i r e a w e . T h i s c a n be s e e n , f o r e x a m p l e , n o t o n l y b y t h e by Theodore, A n t i o c h , b u t also b y h i s c o m m e n t a r y o n it ( D i x 1945, 2 8 2 - 8 ) . I t h a s b e e n s u p p o s e d extended liturgical actions occasion accompanying chants. S e c o n d l y , there was a dramatic m o v e m e n t a l r e a d y u n d e r w a y i n E g y p t t o w a r d s t h e e n d of t h e t h i r d c e n t u r y b y m a n y r e l i g i o u s p e r s o n s to c u t t h e m s e l v e s o f f f r o m t h e w o r l d a n d l e a d a s o l i t a r y l i f e , a l o n e as h e r m i t s , as h e r m i t s a n s w e r i n g o c c a s i o n a l

c a l l s to m e e t i n g s , o r as c o m m u n i t i e s of m o n k s a n d n u n s . T h e m o n a s t i c c o m m u n i t i e s d e v e l o p e d t h e i r o w n f o r m s of c o m m u n a l w o r s h i p , w h i c h o c c a s i o n a l l y i n t e r a c t e d w i t h their 'secular' counterparts b u t r e m a i n e d essentially d i s t i n c t . M a n y s u c h c o m m u n i t i e s e n g a g e d i n m o r e o r less c o n t i n u o u s w o r s h i p , u s u a l l y o r g a n i z e d i n a s y s t e m of o f f i c e h o u r s different f r o m the p r a y e r h o u r s w h i c h were o b s e r v e d i n the p r e v i o u s c e n t u r i e s . The chief purpose of the r e l i g i o u s exercise was continual prayer and praise, This p a r t i c u l a r l y t h r o u g h the c o m p l e t e r e c i t a t i o n of t h e O l d Testament psalms.

u l t i m a t e l y l e d , a m o n g o t h e r s , to t h e t y p e of m e d i e v a l o f f i c e k n o w n to us i n t h e R o m a n a n d B e n e d i c t i n e u s e s . T h e s e c u l a r o f f i c e , b y c o n t r a s t , w a s n a t u r a l l y s e l e c t i v e i n its t e x t s . I n r e c e n t t i m e s it h a s t h e r e f o r e b e c o m e u s u a l t o d i s t i n g u i s h a ' c a t h e d r a l ' o r ' c l e r i c a l ' o f f i c e , t h e n o n - m o n a s t i c u s e , f r o m a ' m o n a s t i c ' o f f i c e . W e are b e t t e r i n f o r m e d a b o u t m o n a s t i c p r a c t i c e s t h a n c a t h e d r a l o r s e c u l a r l i t u r g i e s , b e c a u s e of t h e s u r v i v a l of t h e ' r u l e s ' of s e v e r a l f o u n d i n g f a t h e r s of m o n a s t i c o r d e r s . T h u s f r o m t h e c h u r c h e s of t h e w e s t e r n h a l f of t h e R o m a n e m p i r e t h e r e is o n l y f r a g m e n t a r y e v i d e n c e f r o m b e f o r e a b o u t 6 0 0 to i n f o r m u s a b o u t c a t h e d r a l l i t u r g i e s , w h i l e f r o m t h e s a m e area w e h a v e t h e Ordo Monasterii St Augustine), ( p a r t of t h e s o - c a l l e d Rule of p r o b a b l y w r i t t e n i n N o r t h A f r i c a b y a f o l l o w e r of S t A u g u s t i n e ( e d . M c C a r t h y 1960), the trans.

V e r h e i j e n 1 9 6 7 ) , t h e r u l e s f o r t h e m o n k s a n d n u n s of S t C a e s a r i u s of A r i e s a n d h i s s u c c e s s o r A u r e l i a n , b i s h o p of A r i e s 5 4 6 - 5 3 ( e d . M o r i n 1942, t h e n , f o r e a r l y s i x t h - c e n t u r y I t a l y , t h e Regula Magistri late s i x t h - c e n t u r y r u l e of S t C o l u m b a n u s f o r t h e C e l t i c c h u r c h ( e d . W a l k e r 1 9 5 7 ) , a n d ( e d . d e V o g u e 1964, E b e r l e 1977) a n d t h e R u l e of S t B e n e d i c t ( e d . H a n s l i k 1960, d e V o g u e a n d N e u f v i l l e 1 9 7 1 - 7 ) . W i t h t h e a i d of t h e last t w o it has b e e n p o s s i b l e to r e c o n s t r u c t m u c h of t h e contemporary m o n a s t i c i s m i n the convents which were attached to t h e basilical c h u r c h e s i n R o m e . T h e s e are b y n o m e a n s t h e o n l y uses w h i c h c a n b e r e c o n s t r u c t e d , o r a b o u t w h i c h s o m e t h i n g is k n o w n , as a g l a n c e t h r o u g h t h e a c c o u n t s of B r a d s h a w (1981) a n d T a f t (1985) w i l l s h o w . C o m m o n t o t h e c a t h e d r a l o r s e c u l a r uses was a b a s i c s y s t e m of d a i l y m o r n i n g a n d e v e n i n g p r a y e r a n d S u n d a y e u c h a r i s t , a l r e a d y e s t a b l i s h e d b y t h e e n d of t h e f o u r t h c e n t u r y . M a n y c o m p o n e n t s o f m o r n i n g a n d e v e n i n g p r a y e r w e r e c h a r a c t e r i s t i c of t h e t i m e of c e l e b r a t i o n : P s . 6 2 (Deus and Ps. 140 (Domine clarnavi vespertinurn) Deus mens ad te de luce vigilo) ad te . . . elevatio manuurn for m o r n i n g prayer meanirn sacrifichtm 148-

i n t h e e v e n i n g . M o r n i n g p r a y e r also n e a r l y a l w a y s i n c l u d e d P s s .

5 0 , a n d e v e n i n g p r a y e r o f t e n b e g a n w i t h t h e c e r e m o n y of l a m p l i g h t i n g . I n a d d i t i o n to a l l t h e s e , a n a l l - n i g h t v i g i l s e r v i c e w a s o c c a s i o n a l l y p e r f o r m e d o n t h e eve of i m p o r t a n t f e a s t - d a y s . ( T h o s e k n o w n t o G r e g o r y of T o u r s are l i s t e d b y T a f t 1985, 182.) H e r e t o o p s a l m o d y t o o k its p l a c e a l o n g s i d e r e a d i n g s a n d p r a y e r s , b u t g e n e r a l l y s p e a k i n g t h e r e is l i t t l e e v i d e n c e of t h e r e c i t a t i o n of t h e p s a l m s i n c y c l e s . I n t h e s e m o r n i n g a n d e v e n i n g s e r v i c e s t h e b u l k of the m u s i c c o n s i s t s Testament p s a l m s . T h a t is s o m e t h i n g of a c o n t r a s t f r o m t h e e a r l y c e n t u r i e s . of O l d Other

i t e m s c e r t a i n l y h a d a p l a c e : the G l o r i a i n excelsis i n the m o r n i n g , a n d the h y m n s c o m p o s e d b y H i l a r y of P o i t i e r s a n d St A m b r o s e of M i l a n , f o r i n s t a n c e . B u t t h e p s a l m s are u b i q u i t o u s .

I n t h e m o n a s t i c o f f i c e t h e p s a l t e r w a s r e c i t e d c o n t i n u o u s l y , at first i n f o r m a l l y a n d t h e n i n g r o u p s of p s a l m s d i s t r i b u t e d a m o n g t h e w h o l e psalter c o u l d be p e r f o r m e d w i t h i n a summaries in Bradshaw 1981 and Taft fixed 1985). fixed h o u r s , so a r r a n g e d that (see uses with the the p e r i o d , usually a week Cathedral

especially

n u m e r o u s p s a l m s , o f t e n to b e f o u n d i n t h e W e s t , s e e m l i k e l y to h a v e b e e n i n f l u e n c e d b y m o n a s t i c p r a c t i c e . F o r e x a m p l e , the S e c o n d C o u n c i l of T o u r s i n 5 6 7 s p e c i f i e s w h a t is p r a c t i c a l l y a m o n a s t i c r o u n d : t w e l v e p s a l m s at L a u d s , s i x w i t h ' A l l e l u i a ' at S e x t , t w e l v e at ' d u o d e c i m a ' ( a n e v e n i n g s e r v i c e d i s t i n c t f r o m t h e l a m p l i g h t i n g c e r e m o n y ) , a n d a n u m b e r d u r i n g t h e N i g h t O f f i c e w h i c h v a r i e d a c c o r d i n g to t h e m o n t h a s m a n y as t h i r t y i n D e c e m b e r ( T a f t 1985, 149). A m b r o s i a n h y m n s are p e r m i t t e d , a n d also h y m n s b y o t h e r a u t h o r s , w h o s e names s h o u l d be w r i t t e n i n the m a r g i n ( i m p l y i n g a w r i t t e n c o l l e c t i o n of h y m n t e x t s ) . W e c a n o n l y s p e c u l a t e o n t h e b a s i s of l a t e r e v i d e n c e w h a t t h e m u s i c d u r i n g these s e r v i c e s w a s l i k e ( f o r e x a m p l e , f o u r of A m b r o s e ' s h y m n s are t h o u g h t t o h a v e s u r v i v e d with something like their original melodies). Even in important matters of performance practicethe division between s o l o i s t a n d c h o i r , t h e r o l e of r e f r a i n considerable of the O l d

v e r s e s , a n d t h e use of a l t e r n a t i n g g r o u p s of s i n g e r s o r c h o i r s t h e r e is c o n s i d e r a b l e d i f f i c u l t y i n i n t e r p r e t i n g t h e e a r l y e v i d e n c e , n o d o u b t b e c a u s e of t h e between monastic and secular practice, and between the p e r f o r m a n c e v a r i e t y t h a t e x i s t e d . I m p o r t a n t d i s t i n c t i o n s w h i c h h a v e t o b e b o r n e i n m i n d are t h o s e Testament p s a l m s a n d the s i n g i n g of n e w l y c o m p o s e d v e r s e s o r s o n g s . T h e g r e a t e s t

d i f f i c u l t i e s arise i n u n d e r s t a n d i n g w h a t is m e a n t b y ' r e s p o n s e ' a n d ' a n t i p h o n ' a n d t h e concepts 'responsorial' and 'antiphonal psalmody'. I n o n e s e n s e ' r e s p o n s e ' a n d ' a n t i p h o n ' m i g h t s e e m to b e i d e n t i c a l , w i t h t h e m e a n i n g of ' r e f r a i n ' , a v e r s e o r verses s u n g a f t e r e a c h s e c t i o n o f a n o t h e r c h a n t , f o r e x a m p l e a f t e r e a c h v e r s e of a p s a l m . A p o s s i b l e d i s t i n c t i o n h e r e w o u l d b e t h a t t h e r e s p o n s e t a k e s its t e x t f r o m t h e p s a l m o r o t h e r p i e c e b e i n g s u n g ( u s u a l l y its first v e r s e , s u n g first b y the leader and repeated by the chorus), whereas the a n t i p h o n is a n independently c o m p o s e d s o n g . I f that s e e m s a t r i f l i n g d i f f e r e n c e , w e s h o u l d r e m e m b e r t h e s e n s i t i v i t y displayed particularly i n the t h i r d and f o u r t h centuries songs: t h o s e of B a r d e s a n e s by Socrates and described Sozomen ( M c K i n n o n 1987, i n t h e face o f n o n - b i b l i c a l Music, 101-4). General things i n A n t i o c h , or those of the A r i a n s i n C o n s t a n t i n o p l e

c o n s e r v a t i s m w i t h r e g a r d t o n o n - s c r i p t u r a l l y r i c c o m p o s i t i o n s is o n e of t h e w h e r e h y m n g e n r e s s u c h as t h e k o n t a k i o n , k a n o n , a n d s t i c h e r o n IX.) The concept of t h e a n t i p h o n a n d the a n t i p h o n a l m a n n e r of p e r f o r m a n c e soloist a n d flourished

w h i c h d i s t i n g u i s h e s the m e d i e v a l R o m a n l i t u r g y m o s t s t r o n g l y f r o m t h e B y z a n t i n e , i n great a b u n d a n c e . ( T h e e v o l u t i o n o f these is r e v e a l i n g : see W e l l e s z 1 9 6 1 , c h s . V I a n d V I I I has,

h o w e v e r , a n a n c i l l a r y m e a n i n g of ' a l t e r n a t i n g ' b e t w e e n g r o u p s . It h a s b e e n that ' r e s p o n s o r i a l ' relates p r i m a r i l y to the a l t e r n a t i o n b e t w e e n

argued chorus,

' a n t i p h o n a l ' to t h a t b e t w e e n t w o c h o i r s , say the p e o p l e a n d t h e t r a i n e d c h o i r , o r the t w o h a l v e s of a c h o i r . W e s h o u l d also c o n s i d e r the p o s s i b i l i t y t h a t t h e t w o m e a n i n g s of ' a n t i p h o n ' m a y not be m u t u a l l y e x c l u s i v e : the a n t i p h o n to be b o t h n e w l y c o m p o s e d ,

n o n - s c r i p t u r a l , a n d p e r f o r m e d b y a l t e r n a t i n g c h o i r s . I s i d o r e of S e v i l l e x i x , De ecclesiasticis officiis

(c.560-633), 6.

f o r e x a m p l e , says t h a t a n t i p h o n s are c h a n t e d b y t w o c h o i r s a l t e r n a t e l y (Etymologies

1. v i i a n d i x ) . H e m a y h a v e b e e n t h i n k i n g o f a l t e r n a t i n g

p e r f o r m a n c e o f t h e p s a l m v e r s e s t o w h i c h t h e a n t i p h o n s are a c o u n t e r p a r t . B u t i n v i e w of t h e u s u a l s o l o s i n g i n g o f t h e p s a l m s t h e m s e l v e s at t h i s d a t e , it s e e m s m o r e l i k e l y t h a t the a n t i p h o n i t s e l f is t o b e c h a n t e d first b y o n e s i d e o f t h e c h o i r , t h e n b y t h e o t h e r . That is w h a t w e find, m u c h later, d e s c r i b e d b y A m a l a r i u s of M e t z i n h i s Liber (or official's antiphon of r . 8 2 3 ( H a n s s e n s , i i . 4 3 3 , q u o t e d b y D y e r 1989, ' M o n a s t i c ' , 6 8 ) . F i r s t t h e is b e g u n b y a s o l o i s t f r o m o n e c h o i r , a n d s e e m s to b e c o m p l e t e d

repeated) b y b o t h choirs together. T h e performance apparently c o n t i n u e s : P s a l m verse: soloist A n t i p h o n : first c h o i r P s a l m verse: soloist A n t i p h o n : second choir P s a l m verse: soloist A n t i p h o n : first c h o i r P s a l m verse: soloist A n t i p h o n : second choir ( a n d so o n ) T h e great a t t r a c t i o n of ' a n t i p h o n s ' w h a t e v e r they m a y have b e e n i s d i f f i c u l t to u n d e r s t a n d w h e n s o l i t t l e is k n o w n a b o u t t h e i r c h a r a c t e r a n d c o n t e n t . T h e r e is n o space here meanings to e x a m i n e (Hucke each reference i n o r d e r to d i s t i n g u i s h b e t w e e n the most possible and 1953, ' E n t w i c k l u n g ' provides comprehensive

j u d i c i o u s r e v i e w ) . I shall extract

o n l y a f e w salient p o i n t s w h i c h are p a r t i c u l a r l y

r e l e v a n t t o t h e m e d i e v a l usage i n t h e W e s t . E a r l y r e p o r t s c o n n e c t t h e first s i n g i n g of a n t i p h o n s w i t h A n t i o c h , a n d , lest t h e i r n o n b i b l i c a l n a t u r e a n d t h e i r use b y heretical g r o u p s l i k e the A r i a n s s h o u l d taint t h e i r i m a g e , a l e g e n d g r e w u p t h a t B i s h o p I g n a t i u s of A n t i o c h ( m a r t y r e d c. 107) h a d s e e n a v i s i o n o f a n g e l s s i n g i n g ' a n t i p h o n a l h y m n s ' , a n d i n t r o d u c e d t h e s a m e sort of s o n g s i n t o h i s o w n c h u r c h ( M c K i n n o n 1 9 8 7 , Music, 1 0 2 ) . T h e f o u r t h c e n t u r y i s , as w i t h s o m a n y t h i n g s , the p e r i o d w h e n t h e f a s h i o n is first w i d e l y r e c o r d e d , a n d s u p p o r t f o r i t s E a s t e r n o r i g i n comes f r o m b o t h S t A u g u s t i n e a n d the b i o g r a p h e r of S t A m b r o s e . A u g u s t i n e says that d u r i n g t h e t i m e w h e n A m b r o s e ' s c h u r c h i n M i l a n w a s u n d e r threat f r o m t h e A r i a n s , i n 3 8 6 - 7 , ' h y m n s a n d p s a l m s ' w e r e first s u n g 'after t h e m a n n e r of t h e o r i e n t a l r e g i o n s ' t o raise t h e s p i r i t s o f t h o s e u n d e r siege (Confessions writing i n 4 2 2 , b u t d e s c r i b i n g the same 9 . 7 . 1 5 ; M c K i n n o n 1 9 8 7 , Music, as A u g u s t i n e , that at t h i s 154). time T h i s has been c o n n e c t e d w i t h a r e m a r k b y P a u l i n u s , f o r m e r secretary of St A m b r o s e , events ' a n t i p h o n s , h y m n s , a n d v i g i l s ' w e r e first p e r f o r m e d i n M i l a n . A s so o f t e n , t h e r e is n o p r e c i s e e v i d e n c e h e r e of w h a t ' a n t i p h o n ' m e a n s , t h o u g h i t s c o n n e c t i o n w i t h i n s p i r i t i n g c o n g r e g a t i o n a l s i n g i n g is c l e a r . ( O n the other h a n d , L e e b VI.5.) 1967 p o i n t e d o u t t h a t in his A m b r o s e h i m s e l f o n l y m e n t i o n s solo psalms w i t h congregational responses s e r m o n s : see t h e d i s c u s s i o n o f t h e g r a d u a l b e l o w ,

T h e r e c e n t s t u d y of D y e r has m a d e it c l e a r t h a t f o r e a r l y m o n a s t i c p s a l m o d y s o l o p e r f o r m a n c e was the r u l e . E a c h m o n k i n t u r n p l a y e d his part i n s i n g i n g w h i l e his b r e t h r e n m e d i t a t e d o n what was b e i n g s u n g . W e do not k n o w what the m u s i c for this s i n g i n g w a s l i k e . S o m e t h i n g a k i n to the f a m i l i a r tones m a y have b e e n u s e d , t h o u g h s o l o d e l i v e r y n a t u r a l l y a l l o w e d g r e a t e r f r e e d o m of m u s i c a l e x p r e s s i o n . The m e d i t a t i v e r o l e of t h e m o n k s n o t t a k i n g t h e i r t u r n to s i n g a p s a l m w a s , w r i t t e n a b o u t 415 f o r t h e b i s h o p of A p t , d r a w i n g o n first h o w e v e r , o c c a s i o n a l l y v a r i e d b y t h e i r a d d i n g r e s p o n s e s o r a n t i p h o n s to t h e s o l o p s a l m . I n J o h n C a s s i a n ' s Institutes, C a s s i a n ' s e x p e r i e n c e of E g y p t i a n m o n a s t i c i s m , he says t h a t m o n k s i n P a l e s t i n e

s t a n d to s i n g t h r e e ' a n t i p h o n a ' ( u s u a l l y t a k e n to m e a n p s a l m s w i t h a n t i p h o n r e f r a i n s ) , t h e n sit w h i l e t h r e e m o n k s i n t u r n s i n g a p s a l m s o l o , t h e o t h e r b r e t h r e n ' r e s p o n d i n g ' (presumably singing short responses). Various arrangements of psalms with In a n t i p h o n s a n d p s a l m s w i t h r e s p o n s e s are to be f o u n d a m o n g e a r l y m o n a s t i c u s e s . case i n t h e R u l e of t h e M a s t e r , f o r e x a m p l e ( e d . de V o g u e 1 9 6 4 ; 1981, 140, T a f t 1985, S e v e r a l i t e m s i n t h e R u l e of t h e M a s t e r are l a b e l l e d responsoria, H u c k e 1953,

s o m e , t h e b a l a n c e is w e i g h t e d h e a v i l y i n f a v o u r of p s a l m s w i t h a n t i p h o n s . T h i s is t h e see also B r a d s h a w a n d the q u e s t i o n (See 1 2 2 - 3 ) , w h e r e t h e p r o p o r t i o n is o v e r t h r e e t o o n e .

a r i s e s as t o w h e t h e r t h e s e are i n f a c t t h e s a m e as t h e o l d p s a l m s w i t h r e s p o n s e s .

' E n t w i c k l u n g ' , 1 7 2 - 3 , w i t h r e f e r e n c e to t h e R u l e of B e n e d i c t , s l i g h t l y

l a t e r t h a n t h e R u l e of t h e M a s t e r a n d d r a w i n g h e a v i l y u p o n i t . ) T h e y a p p e a r o n l y as s i n g l e i t e m s , n o t i n t h e sets t y p i c a l f o r t h e r e c i t a t i o n of t h e w h o l e p s a l t e r . I n f a c t , t h e y stand outside the cycles of p s a l m s . We m a y s u r m i s e that pieces like the short r e s p o n s o r i e s k n o w n to us f r o m m e d i e v a l s o u r c e s m a y h a v e f e a t u r e d a m o n g t h e m , b u t a m o r e o r n a t e m a n n e r of d e l i v e r y c a n n o t b e r u l e d o u t . It is e v i d e n t l y n e c e s s a r y to m a k e a c l e a r d i s t i n c t i o n b e t w e e n t h e s i n g i n g of s h o r t r e s p o n s e s ( s u c h as ' A l l e l u i a ' ) d u r i n g t h e c y c l i c s i n g i n g of p s a l m s , a n d t h e s i n g i n g of r e s p o n s o r i e s i n d e p e n d e n t l y of t h e p s a l m c y c l e . It is t h e l a t t e r w h i c h w e see i n t h e R u l e of t h e M a s t e r , a n d also t h e R u l e of S t B e n e d i c t , w h e r e r e s p o n s o r i e s are p e r f o r m e d d u r i n g the N i g h t Office in a l t e r n a t i o n w i t h lessons, a n e w a r r a n g e m e n t w i t h w h i c h we are f a m i l i a r f r o m t h e M i d d l e A g e s : t h e t e x t s are s p e c i a l l y s e l e c t e d f o r t h e i r r e l e v a n c e to t h e l e s s o n . N o d o u b t t h i s c o u l d h a v e b e e n d o n e ad libitum. If t h e performance would r e s e m b l e d t h a t of m e d i e v a l s h o r t r e s p o n s o r i e s , t h e s i n g e r of t h e r e s p o n s o r y

h a v e s e l e c t e d a passage a n d s u n g a n o p e n i n g v e r s e , w h i c h w o u l d b e r e p e a t e d b y t h e o t h e r s p r e s e n t ( e i t h e r c h o i r o r c o n g r e g a t i o n is c o n c e i v a b l e ) . T h e s o l o i s t w o u l d h a v e c o n t i n u e d w i t h f u r t h e r v e r s e s , the o t h e r s r e s p o n d i n g a f t e r e a c h v e r s e w i t h t h e v e r s e as t h e y h a d s u n g at t h e s t a r t . same I n B e n e d i c t ' s R u l e w e see t h i s s y s t e m a t i c a l l y

o r g a n i z e d f o r t h e first t i m e , a n d m a y a s s u m e t h a t t h e m e d i e v a l c y c l e s of l e s s o n s a n d c o m p l e m e n t a r y responsories had their b i r t h here. W h e n p e r u s i n g o l d o r d e r s of s e r v i c e ( s u c h as t h o s e g a t h e r e d t o g e t h e r b y B r a d s h a w 1981 or T a f t 1985), it is of course not always possible to k n o w whether the r e s p o n s o r i a l c h a n t is p a r t of a p s a l m c y c l e o r the c o m p l e m e n t t o a l e s s o n . T h e s i x t h c e n t u r y ' P s a l t e r of S t G e r m a i n - d e s - P r e s ' ( P a r i s , B i b l i o t h e q u e N a t i o n a l e , l a t . 1 1 9 4 7 ; see H u g l o 1982, ' R e p o n s - G r a d u e l ' ) , a psalter w i t h r e s p o n s o r y texts, s e e m s to be

d e s i g n e d f o r c y c l i c p e r f o r m a n c e of t h e p s a l t e r . O n t h e o t h e r h a n d , t w o l e c t i o n a r y fragments fifth have s u r v i v e d w i t h p s a l m verses apparently intended for responsorial monastery performance: W o l f e n b u t t e l , H e r z o g - A u g u s t - B i b l i o t h e k , W e i s s e n b u r g 76 f r o m the

to s i x t h c e n t u r y ( e d . D o l d 1936) a n d M o u n t S i n a i , S t C a t h e r i n e ' s

G r . 5 6 7 , p o s s i b l y a S p a n i s h m a n u s c r i p t of t h e s e v e n t h c e n t u r y ( L o w e 1 9 6 4 ) . W e h a v e t w o r e p o r t s o f t h e s e l e c t i o n of r e s p o n s o r y texts as e a r l y as t h e fifth c e n t u r y ( V o g e l 1 9 8 6 , 3 0 2 - 3 ) . G e n n a d i u s relates t h a t t h e p r i e s t M u s a e u s of M a r s e i l l e s m a d e a selection of readings f o r feast-days (responsoria psalmorum capitula) a n d passages f o r responsories f r o m the p s a l m s 1 9 8 7 , Music, 170). to go w i t h t h e m ( M c K i n n o n

S i d o n i u s A p o l l i n a r i s c r e d i t s C l a u d i a n u s of V i e n n e w i t h s o m e t h i n g s i m i l a r ( c i t e d b y Jeffery 1984, 161). W i t h the W o l f e n b u t t e l a n d M o u n t S i n a i fragments, a n d w i t h the r e p o r t s a b o u t M u s a e u s a n d C l a u d i a n u s , i t is d i f f i c u l t to k n o w i f w e a r e d e a l i n g w i t h t h e o f f i c e r e s p o n s o r y o r t h e g r a d u a l of m a s s ( t h e W o l f e n b u t t e l f r a g m e n t a l s o h a s w h a t m a y b e o f f e r t o r y t e x t s ) , b u t t h e o v e r a l l n a t u r e a n d p u r p o s e o f t h e e x t r a c t s is c l e a r . The early history of t h e c h i e f forms of o f f i c e music, the a n t i p h o n a n d the r e s p o n s o r y , is t h e r e f o r e b y n o m e a n s c l e a r i n d e t a i l . W i t h o u t k n o w i n g m o r e a b o u t t h e p r e c i s e t e x t s s u n g a n d t h e i r m a n n e r of p e r f o r m a n c e , w e c a n n o t say v e r y m u c h a b o u t their m u s i c . T h e same t w o f o r m s , or s o m e t h i n g related to t h e m , were used i n the m a s s l i t u r g y , t h e s u b j e c t of t h e n e x t s e c t i o n , w h i c h m a y h e l p o u r u n d e r s t a n d i n g of t h e office chants. H y m n s a r e d i s t i n c t f r o m t h e f o r m s d i s c u s s e d so far b y r e a s o n of t h e i r p o e t i c t e x t a n d their i n d e p e n d e n c e f r o m p s a l m o d y or readings (although we cannot be sure that a l l e a r l y r e f e r e n c e s t o ' h y m n s ' w o u l d fit t h i s d e f i n i t i o n ) . B e i n g n o n - s c r i p t u r a l , t h e y w e r e o c c a s i o n a l l y r e g a r d e d w i t h t h e s a m e s u s p i c i o n as a n t i p h o n s . T h e y w e r e n o t p a r t o f t h e e a r l y R o m a n m o n a s t i c o f f i c e , n o r of t h e R u l e of t h e M a s t e r , b u t B e n e d i c t i n c l u d e d t h e m . O n t h e o t h e r h a n d , t h e y are r e c o r d e d f o r s e v e r a l o t h e r e a r l y W e s t e r n l i t u r g i e s , p a r t i c u l a r l y secular ones. It has been suggested that a statement b y J e r o m e m a y r e f e r t o t h e s i n g i n g o f h y m n s at m o r n i n g p r a y e r i n R o m a n s e c u l a r u s e ( T a f t 1 9 8 5 , 143). They are k n o w n f r o m M i l a n i n St A m b r o s e ' s t i m e and north Africa in and has S t A u g u s t i n e ' s . F o r G a u l w e h a v e t h e h y m n s of S t H i l a r y o f P o i t i e r s (c.315-67), monastic rule o f A r i e s o f t h e 530s is k n o w n ( T a f t 1985, 103-4). Huglo

t h e y are m e n t i o n e d at s e v e r a l G a l l i c a n s y n o d s . T h e f u l l set of d a i l y h y m n s of t h e r e c o n s t r u c t e d t h e w h o l e G a l l i c a n h y m n a l ( ' G a l l i c a n R i t e , M u s i c o f t h e ' , NG). Canon

13 of t h e F o u r t h C o u n c i l of T o l e d o ( 6 3 3 ) , p r e s i d e d o v e r b y S t I s i d o r e of S e v i l l e , a l l o w e d t h e s i n g i n g d u r i n g t h e o f f i c e of t h e G l o r i a i n e x c e l s i s a n d o t h e r n o n - b i b l i c a l h y m n s s u c h as t h o s e of H i l a r y a n d A m b r o s e . T h a t h y m n s , like a n t i p h o n s , (c.470-542): were v a l u e d f o r t h e o p p o r t u n i t y t h e y g a v e f o r p o p u l a r p a r t i c i p a t i o n is i n d i c a t e d b y t h e f o l l o w i n g p a s s a g e f r o m t h e L i f e o f S t C a e s a r i u s of A r i e s

H e a d d e d also a n d p r o v i d e d that the lay inhabitants m e m o r i z e psalms and h y m n s , a n d chant, some i n G r e e k , others i n L a t i n , proses (prosas) and antiphons w i t h a high and m e l o d i o u s voice, like the clergy, so as not to have any time to waste on gossip w h i l e i n c h u r c h . ( M G H , Passiones vitaeque sanctorum, 4 6 3 - 4 ; T a f t 1985, 151.)

T h e n a t u r e of t h e ' p r o s e s ' is u n c e r t a i n . The pp. texts of n u m e r o u s C e l t i c ecclesiastical h y m n s have s u r v i v e d , t h o u g h their (Warren ed. Stevenson offices has been 1987, dulled l i t u r g i c a l f u n c t i o n a n d p o s i t i o n are n o t o f t e n c l e a r lxxxiiilxxxix). sense of c o n t r a s t i n g monastic and non-monastic The

s o m e w h a t s i n c e t h i s e a r l y p e r i o d b e c a u s e of t h e p r e v a l e n c e of a m o n a s t i c t y p e s i n c e the C a r o l i n g i a n renaissance. T h e differences b e t w e e n secular a n d m o n a s t i c use i n the M i d d l e A g e s are r e l a t i v e l y m i n o r w h e n set b e s i d e t h e a d o p t i o n b y s e c u l a r u s e s of t h e m o n a s t i c daily N i g h t O f f i c e a n d L i t t l e H o u r s . T h e d i s t i n c t i o n between the t w o types o f o f f i c e w a s a l r e a d y b l u r r e d i n R o m e f r o m t h e fifth c e n t u r y o n w a r d , w h e n m o n a s t i c c o m m u n i t i e s became attached communities. A f t e r the t o t h e b a s i l i c a l c h u r c h e s s u c h as t h e L a t e r a n a n d of t h e eighth century in F r a n c i a , clerics were S t P e t e r ' s . B e n e d i c t ' s R u l e a p p e a r s to h a v e b e e n i n f l u e n c e d b y t h e p r a c t i c e of t h e s e reforms i n c r e a s i n g l y e x p e c t e d t o p e r f o r m a f u l l c y c l e of o f f i c e h o u r s a f t e r t h e R o m a n o r a quasi-monastic pattern. The prevalance of the full monastic-style office is n o t restricted to Roman/ B e n e d i c t i n e u s e . W e h a v e b o t h s e c u l a r a n d m o n a s t i c O l d S p a n i s h s o u r c e s of o f f i c e c h a n t s ; it is c l e a r t h a t t h e s e c u l a r s e r v i c e s w e r e s i m p l y b u i l t o u t i n t o a m o n a s t i c c y c l e (see W . C . B i s h o p 1 9 2 4 ) . R a t h e r t h a n o u t l i n e t h e w h o l e of t h e O l d S p a n i s h m o n a s t i c l i t u r g y (see T a f t 1985, 1 1 5 - 2 0 ) , I s u m m a r i z e t h e c h i e f f o r m s of c h a n t , w h i c h m a y be c o m p a r e d w i t h t h e R o m a n / B e n e d i c t i n e c a t e g o r i e s of a n t i p h o n , V e n i t e a n t i p h o n , g r e a t responsory, little responsory, and h y m n . Antiphons for psalms and canticles. I n the N i g h t O f f i c e a n d L a u d s , t w o ' n o r m a l ' (The

a n t i p h o n s a n d an a l l e l u i a t i c a n t i p h o n (that is, one w i t h ' a l l e l u i a ' e x c l a m a t i o n s i n the t e x t ) w e r e g r o u p e d w i t h a r e s p o n s o r y to f o r m t h e u n i t k n o w n as a ' m i s s a ' . ' a l l e l u i a t i c i ' o f t e n s e r v e d as i n t r o i t a n t i p h o n s at m a s s . ) A n o t h e r t y p e of a n t i p h o n d i s t i n g u i s h e d o n l y b y t h e t o p i c a l i t y of its t e x t w a s t h e ' m a t u t i n a r i u m ' f o r L a u d s . T h e ' B e n e d i c t i o n e s ' w e r e a n t i p h o n s to be s u n g w i t h t h e B e n e d i c t u s c a n t i c l e ( D a n . 3 : 52) of t h e N i g h t O f f i c e . A n t i p h o n s w e r e also s u n g d u r i n g t h e o t h e r h o u r s . 'Laudes\ Great The The
(

like alleluiatic a n t i p h o n s w i t h o u t a p s a l m , were s u n g i n the little h o u r s w e r e s u n g i n e a c h ' m i s s a ' of the N i g h t O f f i c e , a n d s i n g l y i n t h e or 'Vespertinum' is a r e s p o n s o r i a l c h a n t ( v a r y i n g n u m b e r s of

and Vespers. responsories 'Lucernarium Sonus

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other hours. verses are f o u n d , a n d s o m e p i e c e s l a c k a v e r s e ) w h i c h b e g i n s V e s p e r s . of Lauds a p p e a r s to r e s e m b l e t h e S a c r i f i c i u m ( o f f e r t o r y c h a n t ) of m a s s in f o r m a n d m u s i c a l style, a n d s o m e pieces serve i n b o t h f u n c t i o n s . T h e y o c c a s i o n a l l y d i s p l a y l o n g s e q u e n c e - l i k e m e l i s m a s w i t h repeat s t r u c t u r e s . T h e M i l a n e s e office, like the R o m a n , betrays a heavy i n f i l t r a t i o n of m o n a s t i c f o r m s (see a g a i n B i s h o p 1 9 2 4 ) . I n t h e t i m e of S t A m b r o s e ( b i s h o p o f M i l a n 3 3 9 - 7 9 ) a d a i l y m o r n i n g a n d e v e n i n g s e r v i c e a n d o c c a s i o n a l v i g i l s e r v i c e s are d o c u m e n t e d , t h o u g h t h e i r d e t a i l e d c o n t e n t is u n c l e a r . T h e m e d i e v a l o r d e r has b e e n e d i t e d b y M a g i s t r e t t i

( 1 9 0 4 - 5 ) a n d s u m m a r i z e d b y L e j a y ( ' A m b r o s i e n ( r i t ) ' DACE)

and Borella

(1964, simpler

c h . 11); it c a n also be f o l l o w e d t h r o u g h the i n t r o d u c t i o n a n d t r a n s c r i p t i o n i n P a l M u s 6. T h e r e p e r t o r y of M i l a n e s e o f f i c e c h a n t s c o n s i s t s n o t o n l y o f the e x p e c t e d a n t i p h o n s to a c c o m p a n y p s a l m s a n d canticles, a n d responsories for the r e a d i n g s , b u t also a n u m b e r of o t h e r i t e m s , u s u a l l y as a p a r t o f c e r e m o n i a l l a c k i n g i n t h e R o m a n / B e n e d i c t i n e o f f i c e . T h e f o l l o w i n g m a y be m e n t i o n e d . F o r t h e m o r n i n g s e r v i c e (a f o r m of N i g h t O f f i c e a n d L a u d s f o l l o w i n g o n e another Te w i t h l i t t l e d i v i s i o n ) a n o t h e r r e s p o n s o r y w a s s u n g a f t e r the o p e n i n g h y m n . A f t e r t h e m a i n s e q u e n c e of N i g h t O f f i c e i t e m s , c o n c l u d e d o u t s i d e A d v e n t a n d L e n t b y t h e D e u m , a s p e c i a l ' a n t i p h o n a a n t e c r u c e m ' , w i t h d o x o l o g y , w a s s u n g at t h e s t a r t of L a u d s . T h e G l o r i a i n e x c e l s i s d e o w a s s u n g a f t e r t h e p s a l m o d y . T o w a r d s t h e e n d of t h e s e r v i c e a ' p s a l l e n d a ' , a p r o c e s s i o n a l a n t i p h o n w i t h d o x o l o g y , w a s s u n g , as t h e c h o i r p r o c e e d e d to t h e w o m e n ' s b a p t i s t e r y . T h e r e a r e s p o n s o r y ' i n b a p t i s t e r i o ' w a s s u n g , t h e n a n o t h e r p s a l l e n d a o n t h e w a y to the m e n ' s The same stational ceremony concluded baptistery. Vespers. Vespers began with the

' L u c e r n a r i u m ' , a n e l a b o r a t e a n t i p h o n w i t h verse (cf. the O l d S p a n i s h l u c e r n a r i u m ) . T h e r e f o l l o w e d the ' A n t i p h o n a i n c h o r o ' w i t h o u t p s a l m verse, a n d the ' R e s p o n s o r i u m i n c h o r o ' s u n g b y a d e a c o n . O n i m p o r t a n t feasts t h e last t w o c h a n t s w e r e r e p l a c e d b y the ' R e s p o n s o r i u m c u m i n f a n t i b u s ' , w i t h its l e n g t h y s e q u e n c e - l i k e m e l i s m a s ( c f . Old Spanish sonus). T h u s b o t h O l d S p a n i s h a n d M i l a n e s e offices i n c l u d e a n u m b e r of s u b s t a n t i a l i t e m s not f o u n d i n R o m a n u s e , s o m e of t h e m c h a n t s w h i c h d o n o t f a l l i n t o t h e c a t e g o r i e s of either r e s p o n s o r y o r a n t i p h o n f o r t h e p s a l m s a n d c a n t i c l e s . B a i l e y a n d M e r k l e y ( 1 9 8 9 , 16) h a v e p o i n t e d o u t a c o n s i d e r a b l e o v e r l a p p i n g o f use b e t w e e n t h e v e r y r i c h M i l a n e s e r e p e r t o r y of p r o c e s s i o n a l a n t i p h o n s a n d office a n t i p h o n s ( u s u a l l y u n d e r t h e name ' p s a l l e n d a ' ) . W e c a n n o t a l w a y s k n o w h o w m u c h of t h i s m a t e r i a l w a s p r e s e n t i n t h e n o n - R o m a n rites b e f o r e the earliest c h a n t - b o o k s , w r i t t e n after the e i g h t h c e n t u r y . B u t w e s h o u l d b e a w a r e of t h e a l t e r n a t i v e l i n e s of l i t u r g i c a l d e v e l o p m e n t w h i c h t o o k p l a c e in parallel w i t h the R o m a n one. T h e n e x t s e c t i o n p u r s u e s s o m e of the s a m e t h e m e s as t h i s w i t h r e g a r d to t h e c h a n t s of m a s s . the

VI.5. (i) (ii) iii) iv) The The The The

M A S S

C H A N T S

B E F O R E T H E E I G H T H

C E N T U R Y

Gradual Introit and O t h e r C h a n t s at the Start of Mass C h a n t s at C o m m u n i o n Offertory

(v) T h e C h a n t s beside the Lessons Stablein, ' F r u h c h r i s t l i c h e M u s i k ' , MGG; H a n n i c k , ' C h r i s t i a n C h u r c h , M u s i c of the Early', NG; D u c h e s n e 1919; D i x 1945; J u n g m a n n 1948 etc. (1962 e d n . cited here);

C h e s l y n Jones et al. 1978, c h . I l l ; D y e r 1982; Jeffery 1984; M c K i n n o n 1987, ' G r a d u a l ' ; Bailey 1983, Alleluias, 1987; M c K i n n o n 1987, Music.

(i)

The

Gradual

T h e p r e s e n c e o f r e s p o n s o r i e s i n t h e o f f i c e , p e r f o r m e d s i n g l y i n r e s p o n s e , as it w e r e , to a r e a d i n g , s u g g e s t s a p a r a l l e l w i t h t h e g r a d u a l of m a s s . M c K i n n o n ( 1 9 8 7 , ' G r a d u a l ' ) h a s s h o w n t h a t t h e e v i d e n c e f o r t h e p r e s e n c e of a d i s t i n c t c h a n t a m o n g t h e l e s s o n s of mass first accumulates t o w a r d s t h e e n d of the f o u r t h c e n t u r y . W h i l e i n t h e early is c e n t u r i e s t h e e u c h a r i s t h a d b e e n p r e c e d e d b y r e a d i n g s , e n d i n g w i t h a h o m i l y , t h e r e is n o d e f i n i t e i n f o r m a t i o n a b o u t a c h a n t at t h i s p o i n t i n t h e s e r v i c e . O n e a r r a n g e m e n t set of t h r e e r e a d i n g s ( M c K i n n o n 1987, Music, 161). d o c u m e n t e d b y S t A u g u s t i n e , w h o r e f e r s to t h e s e q u e n c e e p i s t l e - p s a l m - g o s p e l as a It a p p e a r s t h a t t h e p s a l m m a y h a v e c h a n g e d f r o m r e a d i n g to c h a n t , t h e g r a d u a l i n f a c t ( b u t see s e c t i o n v b e l o w f o r t h e p o s s i b i l i t y t h a t t h e a n c e s t o r of t h e t r a c t w a s i n v o l v e d i n t h i s d e v e l o p m e n t ) . M c K i n n o n sees t h e e s t a b l i s h m e n t of t h e g r a d u a l as p a r t of t h e g e n e r a l for the O l d T e s t a m e n t century. Whereas an O l d Testament enthusiasm p s a l m s w h i c h t o o k h o l d of C h r i s t i a n i t y i n t h e l a t e r f o u r t h psalm might occasionally have been declaimed

a m o n g t h e l e s s o n s , it n o w b e c a m e t h e n o r m , a n d a s p e c i a l m a n n e r of p e r f o r m i n g it a r o s e , w h e r e b y t h e c o n g r e g a t i o n o r c h o i r p u n c t u a t e d its p e r f o r m a n c e w i t h a r e f r a i n , t h e r e s p o n d , a v e r s e t a k e n f r o m the p s a l m i t s e l f . T h e ' A p o s t o l i c C o n s t i t u t i o n s ' , w h i c h describe t h e m a s s l i t u r g y of A n t i o c h i n t h e l a t e r f o u r t h c e n t u r y , says t h a t after r e a d i n g s f r o m b o o k s of t h e O l d T e s t a m e n t s o m e o n e s h o u l d s i n g t h e p s a l m s , a n d t h e p e o p l e s h o u l d r e s p o n d w i t h ' a k r o s t i c h i a ' ( M c K i n n o n 1987, Music, customary 109). It w a s t h e n St Ambrose congregations may not f o r a h o m i l y to be p r e a c h e d o n the s a m e r e s p o n d v e r s e .

( d . 3 9 7 ) , e x t o l l i n g t h e v i r t u e s of p s a l m - s i n g i n g g e n e r a l l y , r e m a r k s t h a t involves them chant. i n the service ( M c K i n n o n 1987, Music, 127);

are n o i s y w h e n a l e s s o n is b e i n g r e a d , b u t that s i n g i n g t h e r e s p o n s e s t o a p s a l m w h i l e he n e c e s s a r y h a v e h a d t h e g r a d u a l of m a s s i n m i n d , w h a t he says s e e m s a p p l i c a b l e to t h a t Q u i t e h o w the chant e v o l v e d f r o m what was p r e s u m a b l y a fairly s i m p l e chant w i t h c o n g r e g a t i o n a l p a r t i c i p a t i o n to the e l a b o r a t e c h a n t s w e k n o w f r o m m a n y c h u r c h e s of Christendom (Byzantine prokeimenon, Milanese psalmellus, M o z a r a b i c psalmo) p l a i n e r t y p e of p e r f o r m a n c e of t h e p s a l m ( n o t e t h e s i n g u l a r , p o s s i b l y i m p l y i n g e n t r a n c i n g l y m e l o d i o u s p s a l m o d y of M i l a n i n S t A m b r o s e ' s d a y (Confessions, 4 9 - 5 0 ; M c K i n n o n 1987, Music, 155). unexpected J e f f e r y ( 1 9 8 4 ) h a s p r o v i d e d c o n f i r m a t i o n of M c K i n n o n ' s t h e s i s i n a n i n the h i s t o r y of t h e g r a d u a l ) . A passage i n the Liberpontificalis is the n o t c l e a r . A s e a r l y as t h e late f o u r t h c e n t u r y , h o w e v e r , A u g u s t i n e r e f e r s b o t h to a g r a d u a l ) w h i c h B i s h o p A t h a n a s i u s of A l e x a n d r i a ( d . 373) h a d p r e f e r r e d , a n d to t h e 10. 3 3 .

w a y ( h i s a r t i c l e a c t u a l l y p r e c e d e d M c K i n n o n ' s b u t d e a l s p r i m a r i l y w i t h t h e n e x t stage w h i c h can probably b e d a t e d to t h e e a r l y s i x t h c e n t u r y states t h a t P o p e C e l e s t i n e I ( 4 2 2 - 3 2 ) d e c r e e d t h e 150 p s a l m s s h o u l d b e s u n g ' b e f o r e the s a c r i f i c e ' , w h e r e a s p r e v i o u s l y o n l y t h e e p i s t l e

a n d g o s p e l h a d b e e n r e c i t e d . I n t h e e a r l y n i n t h c e n t u r y A m a l a r i u s of M e t z i n t e r p r e t e d t h i s to m e a n t h a t C e l e s t i n e h a d i n t r o d u c e d t h e s i n g i n g of the i n t r o i t at t h e start of t h e R o m a n m a s s , a n i n t e r p r e t a t i o n f o l l o w e d b y p r a c t i c a l l y a l l s u b s e q u e n t w r i t e r s . B u t , as J e f f e r y e x p l a i n s , t h e p a s s a g e m a k e s m u c h b e t t e r sense if C e l e s t i n e h a d i n t r o d u c e d t h e s i n g i n g of a r e s p o n s o r i a l p s a l m b e t w e e n e p i s t l e a n d g o s p e l , the g r a d u a l i n f a c t . The e x p l a n a t i o n is e s p e c i a l l y c o n v i n c i n g b e c a u s e C e l e s t i n e s e e m s to h a v e h a d e x p e r i e n c e of t h e l i t u r g y a n d i t s m u s i c i n M i l a n at e x a c t l y t h e s a m e t i m e as S t A u g u s t i n e , a n d m i g h t w e l l h a v e w i s h e d to i n t r o d u c e the s a m e c u s t o m s t h a t A m b r o s e h a d r e c e i v e d f r o m the East a n d w h i c h A u g u s t i n e said were b e i n g taken u p all over. A s l i g h t l y later interpolation into the Liber pontificalis says that the psalms The exist i n t r o d u c e d b y C e l e s t i n e w e r e ' a n t e p h a n a t i m ex o m n i b u s ' , w h i c h J e f f e r y e x p l a i n s b y t h e r e s p o n s o r y t e x t s h a v i n g b e e n e x t r a c t e d 'as e x c e r p t s ' f r o m t h e p a r e n t p s a l m s . c e n t o ' , a p a t c h w o r k of a n t i p h o n s . R e p o r t s , a n d a c t u a l s o u r c e s , of s u c h e x c e r p t s o f f i c e r e s p o n s o r y , w h o s e h i s t o r y m u s t h a v e r u n p a r t l y p a r a l l e l to the g r a d u a l . W e s h a l l r e t u r n t o t h e g r a d u a l i n a d i s c u s s i o n of the c h a n t s b e t w e e n t h e l e s s o n s as a w h o l e g r a d u a l , a l l e l u i a , a n d t r a c t a t t h e e n d of t h i s c h a p t e r ( s e c t i o n v b e l o w ) . (ii) p a s s a g e r e m i n d s o n e of t h e l a t e r a t t r i b u t i o n to G r e g o r y the G r e a t of a n ' a n t i p h o n a r i u s f r o m as e a r l y as t h e f i f t h c e n t u r y (see a b o v e , V I . 4 ) ; s o m e of t h e s e m a y r e f e r t o t h e

The Introit

and

Other Chants

at the Start

of

Mass Roman

W h e r e d o e s J e f f e r y ' s n e w i n t e r p r e t a t i o n of C e l e s t i n e ' s c o n t r i b u t i o n t o t h e

m a s s leave t h e i n t r o i t ? T h e e a r l i e s t d i r e c t e v i d e n c e f o r R o m e is t h e O r d o R o m a n u s I , f r o m t h e e a r l y e i g h t h c e n t u r y , w h e r e it is d e s c r i b e d as a p s a l m w i t h a n t i p h o n : as m a n y p s a l m v e r s e s are s u n g as r e q u i r e d f o r the e n t r a n c e of p o n t i f f a n d c u r i a ( A n d r i e u 19316 1 , i i . 8 3 ) . T h e G a l l i c a n a n t i p h o n a a d p r a e l e g e n d u m h a d p s a l m v e r s e s , as also t h e O l d S p a n i s h p r a e l e g e n d u m , a n d s o m e of the l a t t e r w e r e s u n g b o t h as e n t r a n c e c h a n t s f o r m a s s a n d o f f i c e a n t i p h o n s ( t h e ' a l l e l u i a t i c i ' ) , w i t h the s a m e p s a l m t o n e s . O n t h e o t h e r h a n d , t h e M i l a n e s e e n t r a n c e s o n g , the i n g r e s s a , would seem that ceremonial considerations has n o p s a l m a n d is t h e r e f o r e the development of by the some a X V The n a t u r e m o r e l i k e the l a r g e n o n - R o m a n p r o c e s s i o n a l a n t i p h o n s . I n a l l t h e s e cases, it stimulated r e p e r t o r y , b u t e v i d e n c e f o r t h e i r o r i g i n s a n d d e v e l o p m e n t is s p a r s e . G r e g o r i a n s o u r c e s u s u a l l y i n d i c a t e a s i n g l e p s a l m verse f o r t h e i n t r o i t , b u t early books (particularly Paris, Bibliotheque Nationale, lat. 17436) also ' V e r s u s a d r e p e t e n d u m ' . T h i s c o r r e s p o n d s to t h e i n s t r u c t i o n i n O r d o R o m a n u s Roman 1962, l i t u r g y , he is t h o u g h t to h a v e 15): w o r k e d in B u r g u n d y or A u s t r a s i a ) . have

( t h i r d q u a r t e r of t h e e i g h t h c e n t u r y ; a l t h o u g h it w a s c o m p i l e d b y an a d m i r e r of t h e f o l l o w i n g o r d e r of p e r f o r m a n c e is i n d i c a t e d ( A n d r i e u 1 9 3 1 - 6 1 , i i i . 1 2 0 ; c f . J u n g m a n n i . 417, 420; D y e r 1982, introit antiphon p s a l m verse 1 introit antiphon [ p o s s i b l y f u r t h e r p s a l m v e r s e s e a c h f o l l o w e d b y the i n t r o i t a n t i p h o n , as t i m e a l l o w s ]

G l o r i a p a t r i part 1 introit antiphon G l o r i a p a t r i part 2 introit antiphon Versus ad repetendum introit antiphon It h a s b e e n s u g g e s t e d t h a t t h e v e r s u s a d r e p e t e n d u m i s a r e l i c o f G a l l i c a n p r a c t i c e ( H u g l o , ' G a l l i c a n R i t e , M u s i c of t h e ' , NG\ c f . F r o g e r 1 9 4 8 , ' I n t r o i t ' ) , b u t i t is f o u n d i n O l d R o m a n sources. T h e i n t r o i t f o r m s a g r o u p w i t h K y r i e a n d G l o r i a at t h e s t a r t o f t h e R o m a n m a s s which is p a r t l y m a t c h e d b y the o p e n i n g chants i n other Western rites. Before p r o c e e d i n g to a brief discussion of the c o m m u n i o n chant, w h i c h has m u c h i n c o m m o n w i t h t h e i n t r o i t , a f e w w o r d s a b o u t these other chants are i n o r d e r . T h e first c h a n t s i n t h e G a l l i c a n , O l d S p a n i s h , a n d M i l a n e s e l i t u r g i e s , t h e a n t i p h o n a ad p r a e l e g e n d u m a n d the M i l a n e s e ingressa, have already been m e n t i o n e d . T h e m a i n c h a n t s u p t o t h e first l e s s o n are l i s t e d i n T a b l e VI.5.1. rites Milanese ingressa Gloria Kyrie Trisagion Kyrie ? Gloria Benedictus/Sanctus D e u s Trisagion

T a b l e V I . 5 . 1 . Chants at the start of mass in four Roman Introit Gallican ad praelegendum O l d Spanish

ad praelegendum Gloria

Kyrie

T h e s u p p l i c a t o r y verses K y r i e eleison were used o n n u m e r o u s occasions i n v a r i o u s r i t e s i n v a r i o u s p a r t s of t h e l i t u r g y , b o t h o f f i c e a n d m a s s , i n l i t a n i e s a n d p r o c e s s i o n s . T h e t i m e w h e n l i t a n i e s w i t h K y r i e e l e i s o n b e c a m e a p a r t o f t h e o p e n i n g c e r e m o n i e s of m a s s i s n o t c l e a r . P o s s i b l y P o p e G e l a s i u s ( 4 9 2 - 6 ) w a s r e s p o n s i b l e as f a r as R o m e as concerned (Capelle 1934). G r e g o r y the G r e a t ( d . 604) appears to have extended their use t o n o n - f e s t a l d a y s . I n M i l a n t h r e e s i m p l e K y r i e i n v o c a t i o n s f o r m a m e r e p e n d a n t to t h e G l o r i a i n e x c e l s i s . P o r t e r ( 1 9 5 8 , 2 2 - 3 ) d o u b t e d w h e t h e r t h e b r i e f K y r i e c h a n t i n d i c a t e d i n the ' E x p o s i t i o ' of the G a l l i c a n l i t u r g y w a s f i r m l y e n t r e n c h e d . B o t h the G a l l i c a n a n d O l d S p a n i s h liturgies had a n extended litany c h a n t , the preces, after the lessons. T h e G l o r i a w a s s u n g i n t h e m o r n i n g s e r v i c e as e a r l y as t h e f o u r t h c e n t u r y . P o p e S y m m a c h u s ( d . 5 1 4 ) is s a i d t o h a v e i n t r o d u c e d o r at least e x t e n d e d i t s u s e i n t h e Roman mass.

T h e r e l a t e d G a l l i c a n a n d O l d S p a n i s h rites b o t h i n c l u d e d t h e T r i s a g i o n Agios theos ( s u n g b o t h i n L a t i n a n d G r e e k ) , l i k e t h e G l o r i a a ' s o n g of t h e a n g e l s ' . c o r r e s p o n d s to the use of B y z a n t i u m a n d the L i t u r g y of S t J a m e s . L i k e t h e G l o r i a i n e x c e l s i s , the B e n e d i c t u s o r C a n t i c l e of Z a c h a r i a s ( L u k e 1 : 7 9 ) , has l i n k s w i t h m o r n i n g p r a y e r . T h e Expositio a n t i p h o n Sanctus Deus angelorurn antiquae liturgiae Gallicanae

This 68says

that the B e n e d i c t u s was p e r f o r m e d 'alternis v o c i b u s ' ( R a t c l i f f 1971, 5). I n L e n t the was sung instead. T h e a u t h o r of t h e n o t e o n C e l e s t i n e I m e n t i o n e d a b o v e , c o n c e r n i n g t h e g r a d u a l , r e m a r k e d t h a t p r e v i o u s t o h i s i n t r o d u c t i o n of p s a l m o d y o n l y the e p i s t l e a n d g o s p e l h a d b e e n p e r f o r m e d b e f o r e the s a c r i f i c e . P o s s i b l y he has i n m i n d t h e c l u s t e r of i t e m s e p i s t l e - g r a d u a l - g o s p e l , a n d h i s r e m a r k has n o r e l e v a n c e t h e start of R o m a n m a s s a l l p o s t d a t e C e l e s t i n e ( 4 2 2 - 3 2 ) . to w h a t w a s performed b e f o r e t h e e p i s t l e . It is also p o s s i b l e t h a t t h e s i n g i n g of i n t r o i t , K y r i e , a n d G l o r i a at

(iii)

The

Chants

at

Communion are also to be f o u n d i n the same early sources for the

V e r s u s ad r e p e t e n d u m c e n t u r y Expositio antiquae

c o m m u n i o n c h a n t , a n d f o r its G a l l i c a n e q u i v a l e n t , the t r e c a n u m . I n t h e e a r l y e i g h t h liturgiae Gallicanae t h e ' t h r e e f o l d n e s s ' of t h e t r e c a n u m is 1971, 16), in a way which d e s c r i b e d as a r e f l e c t i o n of t h e H o l y T r i n i t y ( R a t c l i f f J u n g m a n n (1962, i i . 490) Father antiphon The trikanon, Son psalm verse i n t e r p r e t s as f o l l o w s : Holy Spirit Gloria Son psalm verse Father antiphon Greek

w o r d ' t r e c a n u m ' has also b e e n e x p l a i n e d as a t r a n s l i t e r a t i o n of t h e

t h e n a m e f o r P s . 3 3 . N o t e x t of a G a l l i c a n t r e c a n u m a c t u a l l y s u r v i v e s t o

s u p p o r t e i t h e r of t h e s e e x p l a n a t i o n s . O r d o R o m a n u s I ( A n d r i e u 1 9 3 1 - 6 1 , i i . 105) states t h a t t h e p s a l m v e r s e s are to b e c o n t i n u e d u n t i l t h e p o n t i f f g i v e s a s i g n , w h e r e u p o n the G l o r i a a n d t h e ' v e r s e ' are to b e s u n g . B y 'verse' either the c o m m u n i o n a n t i p h o n (previously called ' a n t i p h o n a ' ) or a v e r s u s a d r e p e t e n d u m m i g h t be m e a n t . i n t r o i t (see above). O n c e again O r d o R o m a n u s X V (Andrieu I 1 9 3 1 - 6 1 , i i i . 124) is m o r e e x p l i c i t , a n d i n d i c a t e s a p e r f o r m a n c e e x a c t l y l i k e t h a t of t h e O n e b r a n c h of t h e m a n u s c r i p t t r a d i t i o n of O r d o R o m a n u s i n d i c a t e s t h a t t h e s c h o l a a n d the s u b d e a c o n s a l t e r n a t e d i n t h e p e r f o r m a n c e , w h a t p o r t i o n s t h e y s a n g is n o t c l e a r . A s m i g h t b e e x p e c t e d , t h e s i n g i n g of a c h a n t at the f r a c t i o n of t h e b r e a d , o r t h e d i s t r i b u t i o n of t h e c o m m u n i o n , is a t t e s t e d at a n e a r l y d a t e . T h e s i n g i n g o f P s . t h e ' A p o s t o l i c C o n s t i t u t i o n s ' ( l i t u r g y of A n t i o c h , later f o u r t h c e n t u r y ; 1987, Music, performs the 11 a n d 109). psalm, but 33 d u r i n g t h e d i s t r i b u t i o n is r e c o r d e d b o t h b y C y r i l , b i s h o p of J e r u s a l e m 3 4 9 - 8 7 , a n d i n McKinnon V e r s e 8 of t h e p s a l m , ' O taste a n d see t h a t t h e L o r d is there is also e a r l y e v i d e n c e of a c h o r a l r e s p o n s e (see though

g o o d ' , n o d o u b t i n s p i r e d t h i s c h o i c e . F r o m b o t h a c c o u n t s it a p p e a r s t h a t a s o l o i s t M c K i n n o n 1987, Music, 8 2 , 120, 144.) Indeed w h e n C y r i l encourages the people to

l i s t e n to t h e c a n t o r s i n g i n g ' O taste a n d see', it m a y p a r t l y be b e c a u s e t h a t is t h e v e r y v e r s e t h e y w i l l t h e m s e l v e s take u p as a c h o r a l response. E a r l y e v i d e n c e f o r R o m e is l a c k i n g . A n d the fact that t h e W e s t e r n r i t e s d i f f e r f r o m o n e a n o t h e r i n t h e p l a c i n g a n d c h a r a c t e r of t h e i r c h a n t s i n t h e e u c h a r i s t as a w h o l e s u g g e s t s t h a t the t r a d i t i o n of t h e s e c h a n t s is n o t as o l d as t h a t of the g r a d u a l . A l t h o u g h G r e g o r y t h e G r e a t p l a c e d t h e P a t e r n o s t e r b e f o r e t h e f r a c t i o n (he d e f e n d s t h e practice i n a l e t t e r t o B i s h o p J o h n of S y r a c u s e ) , t h e r e is n o m e n t i o n of it i n m o s t e a r l y o r d i n e s (it is a b s e n t f r o m O r d o R o m a n u s I , f o r e x a m p l e , b u t a p p e a r s i n V , X , a n d X V ) . I n O r d o R o m a n u s I the A g n u s D e i ( i n t r o d u c e d b y S e r g i u s I, 6 8 7 - 7 0 1 ) is s u n g d u r i n g t h e f r a c t i o n , a n d t h e c o m m u n i o n c h a n t d u r i n g t h e c o m m u n i o n of t h o s e p s a l m verse), before the L o r d ' s P r a y e r . T h e A g n u s D e i was not s u n g . T h e present. trecanum, then Old G a l l i c a n usage h a d t h e f r a c t i o n , a n d a n a c c o m p a n y i n g f r a c t i o n a n t i p h o n ( w i t h o u t e q u i v a l e n t i n f u n c t i o n t o t h e R o m a n c o m m u n i o n c h a n t , f o l l o w e d . T h i s o r d e r is also t h a t of t h e O l d S p a n i s h r i t e : a c h a n t ' a d c o n f r a c t i o n e m ' ( w i t h o u t p s a l m v e r s e ) , the Paternoster, then a chant 'ad accedentes' ( w i t h p s a l m verses). O n l y the

S p a n i s h r i t e h a d a n a n t i p h o n a l i t t l e e a r l i e r i n the e u c h a r i s t , the c h a n t ' a d p a c e m ' f o r t h e k i s s of p e a c e : t h i s w a s a n a n t i p h o n w i t h p s a l m v e r s e . B o t h a n t i p h o n ' a d a c c e d e n t e s ' a n d ' a d p a c e m ' h a v e t h e s a m e p s a l m t o n e s as o f f i c e a n t i p h o n s , w h i c h is t h e case w i t h t h e R o m a n c o m m u n i o n as w e l l . T h e M i l a n e s e chants f o l l o w the same o r d e r a g a i n : confractoriumPaternoster t r a n s i t o r i u m . N e i t h e r t h e f r a c t i o n n o r t h e c o m m u n i o n c h a n t has p s a l m v e r s e s . O d d l y , s u c h m u s i c a l c o n c o r d a n c e s as exist l i n k the R o m a n c o m m u n i o n n o t w i t h t h e M i l a n e s e t r a n s i t o r i u m but w i t h the c o n f r a c t o r i u m , w h i l e the M i l a n e s e transitoria s h o w l i n k s w i t h G a l l i c a n or even Eastern fraction chants.

(iv)

The

Offertory

T h e o r i g i n s of t h e o f f e r t o r y c h a n t as it a p p e a r s i n t h e G r e g o r i a n t r a d i t i o n of t h e late e i g h t h c e n t u r y o n w a r d are o b s c u r e . w i t h p s a l m verses chanted It was l o n g b e l i e v e d to h a v e b e e n a n a n t i p h o n an firm evidence i n a w a y s i m i l a r to the i n t r o i t a n d t h e c o m m u n i o n ,

' a c t i o n c h a n t ' l i k e t h e m . D y e r ( 1 9 8 2 ) has s h o w n c o n c l u s i v e l y t h a t n o

e x i s t s f o r t h e o f f e r t o r y as a n a n t i p h o n w i t h p s a l m v e r s e s . H u c k e ' s o b s e r v a t i o n s o n t h e r e s p o n s o r i a l n a t u r e of m a n y t e x t s are s i g n i f i c a n t ( H u c k e 1 9 7 0 ) . O r d o R o m a n u s I says t h a t it s h o u l d be t e r m i n a t e d w h e n t h e p o n t i f f g i v e s the c h o i r t h e n o d ; b u t n o t h i n g is s a i d a b o u t t h e n a t u r e of t h e reports he was criticized chant. for introducing singing from the psalms both 'ante T h e e a r l i e s t r e f e r e n c e to a c h a n t a p p e a r s t o b e i n S t A u g u s t i n e ' s w r i t i n g s , w h e r e h e o b l a t i o n e m ' a n d d u r i n g c o m m u n i o n (Retractationes 3 7 ; M c K i n n o n 1987, Music, i i . 11 o r a l t e r n a t i v e numbering

166). ' A n t e o b l a t i o n e m ' , b e f o r e t h e s a c r i f i c e , m a y r e f e r

to t h e g r a d u a l r a t h e r t h a n t h e o f f e r t o r y . I n a n y case t h e r e is n o c l e a r i n d i c a t i o n as t o t h e m a n n e r of p e r f o r m a n c e of t h e s e p s a l m s ( w h i c h has n o t p r e v e n t e d s c h o l a r s f r o m a s s u m i n g t h a t b o t h w e r e d o n e w i t h a n t i p h o n s ) . T h e date of t h e i n t r o d u c t i o n of a n o f f e r t o r y c h a n t i n t o R o m a n use is u n k n o w n .

C h a n t s w i t h a n e q u i v a l e n t f u n c t i o n i n other W e s t e r n rites are the O l d S p a n i s h s a c r i f i c i u m a n d t h e M i l a n e s e o f f e r e n d a . B o t h of these resemble t h e R o m a n c h a n t i n h a v i n g o n e o r a few v e r s e s , s u n g i n a p r e d o m i n a n t l y ( o f t e n h i g h l y ) m e l i s m a t i c m a n n e r

7

t h r o u g h o u t . T h e O l d S p a n i s h s a c r i f i c i a a r e s o m e t i m e s f o u n d as o f f i c e c h a n t s , t h e s o n i of t h e N i g h t O f f i c e a n d V e s p e r s . The G a l l i c a n chant sung d u r i n g the offertory procession was the sonus. T h e i d e n t i t y of t e r m i n o l o g y w i t h the O l d S p a n i s h sonus is p r e s u m a b l y n o t a c c i d e n t a l ; t h e chant was apparently somewhat different, however. I n the description w h i c h t u r n s u p in O r d o R o m a n u s X V ( A n d r i e u , i i i . 1 2 2 - 3 a n d 74 f f . ; D y e r 1982, 15), dominum de cells (called an antiphon) antiquae is s u n g t h r e e t i m e s Gallicanae during an p r o c e s s i o n . I n t h e Expositio liturgiae Laudate extended

(Ratcliff 1971, 1 0 - 1 3 ) the

sonus concludes w i t h a threefold alleluia, the laudes. ( T h e O l d Spanish laudes, o n t h e o t h e r h a n d , a r e t h e e q u i v a l e n t o f t h e R o m a n a l l e l u i a s of m a s s . ) D e t a i l s o f t h e procession splendid a n d the concluding threefold of the B y z a n t i n e mass alleluia correspond to one of the most Entrance', where the parts liturgy, the 'Great

C h e r o u b i k o n h y m n is s u n g w i t h a t r i p l e a l l e l u i a .

(v)

The Chants

beside

the

Lessons

T h e early h i s t o r y of t h e g r a d u a l has been t o u c h e d u p o n above i n a brief d i s c u s s i o n of ' a n t i p h o n a l ' a n d ' r e s p o n s o r i a l ' p s a l m o d y . I t r e m a i n s t o p l a c e it i n c o n t e x t i n t h e set o f c h a n t s s u n g i n close p r o x i m i t y to t h e lessons of mass. T h e v a r i o u s W e s t e r n rites h a v e the arrangements set o u t i n T a b l e VI.5.2.

T a b l e V I . 5 . 2 . Chants Roman Gallican Prophecy

beside the lessons in four rites O l d Spanish Prophecy Benedictiones P s a l m o : Clamor/ Threnos Preces Epistle Milanese Prophecy Psalmellus

Benedictiones

Epistle Gradual Alleluia/ Tract Gospel

Epistle Responsorium

Epistle Alleluia/Cantus

A n t i p h o n a ante e v a n g e l i u m Gospel Sanctus post e v a n g e l i u m Preces Gospel Laudes

A n t i p h o n a ante e v a n g e l i u m Gospel A n t i p h o n a post e v a n g e l i u m

The

M i l a n e s e antiphons before

the

gospel appear

to have b e e n

sung only

at

C h r i s t m a s , E p i p h a n y , a n d E a s t e r , b u t t h o s e after t h e g o s p e l w e r e s u n g a l l t h e y e a r . T h e s e are p r o c e s s i o n a l a n t i p h o n s w i t h o u t v e r s e , to a c c o m p a n y t h e p r o c e s s i o n of t h e d e a c o n to a n d f r o m the a m b o . T h e G a l l i c a n rite h a d a s i m i l a r c u s t o m , b u t the r e t u r n after the g o s p e l was a c c o m p a n i e d b y s i n g i n g the S a n c t u s p o s i t i o n d u r i n g the consecration). first. It is n o t c l e a r h o w m u c h of t h e c a n t i c l e , the (as w e l l as i n its n o r m a l

T h e b e n e d i c t i o n e s i n t h e G a l l i c a n r i t e as d e s c r i b e d i n t h e ' E x p o s i t i o ' f o l l o w e d o n e of the r e a d i n g s , p r e s u m a b l y the ' H y m n o f t h e T h r e e C h i l d r e n ' ( D a n . 3 : 5 2 - 9 0 ) w a s s u n g . I n t h e O l d S p a n i s h use a v a r i e t y of related chants were s u n g , w i t h texts d r a w n f r o m the c a n t i c l e , o n l y o n the highest feasts. T h e G a l l i c a n r e s p o n s o r i u m w a s s u n g b y b o y s ; its m u s i c a l c h a r a c t e r is u n k n o w n . T h e e q u i v a l e n t c h a n t s , the O l d S p a n i s h p s a l m o a n d M i l a n e s e p s a l m e l l u s , l i k e t h e R o m a n g r a d u a l , are of c o u r s e o r n a t e . T h e s e t h r e e are a l l r e s p o n s o r i a l i n t e x t s e l e c t i o n and musical form. The Old Spanish psalmo (psabni pulpitales i n the Leon the antiphoner) w a s o n s o m e i m p o r t a n t feasts f o l l o w e d b y a ' c l a m o r ' , a f t e r w h i c h

r e p e a t s e c t i o n of t h e p s a l m o w a s s u n g o n c e a g a i n . It is n o t c l e a r w h e t h e r t h e G a l l i c a n r i t e k n e w a n a l l e l u i a a p p r o a c h i n g t h e d i m e n s i o n s f o u n d i n R o m e , M i l a n , a n d S p a i n . T h e t h r e e f o l d alleluia w h i c h c o n c l u d e d the o f f e r t o r y chant, the sonus, m a y have been s u c h a piece. T h e O l d S p a n i s h alleluia chant, l a u d e s , f o l l o w s the g o s p e l . A s p e c i a l c h a n t c a n be f o u n d f o r t h e L e n t e n season i n a l l e x c e p t G a l l i c a n u s e : t h e R o m a n tract r e p l a c i n g the a l l e l u i a , the M i l a n e s e cantus w i t h a s i m i l a r f u n c t i o n , a n d the O l d S p a n i s h threnos r e p l a c i n g the p s a l m o . A number of Gallican preces have survived with music in south French m a n u s c r i p t s . T w o c a n be r e c k o n e d c o n c o r d a n c e s w i t h O l d S p a n i s h p r e c e s . T h e l a t t e r w e r e s u n g o n s o m e L e n t e n S u n d a y s , b u t also i n t h e o f f i c e . T h e t h r e e m o s t e x t e n d e d c h a n t s a m o n g t h e s e are t h e g r a d u a l , a l l e l u i a , a n d t r a c t , a n d t h e i r e q u i v a l e n t s i n the n o n - R o m a n rites. Bailey (1987, 35-9) has c a u t i o n e d a g a i n s t t h e a s s u m p t i o n t h a t a l l e a r l y r e f e r e n c e s to a c h a n t b e t w e e n t h e lessons c o n c e r n t h e g r a d u a l , f o r a c o n g r e g a t i o n a l r e s p o n s e is n o t a l w a y s s p e c i f i e d . S o l o c h a n t s w i t h o u t r e f r a i n , s u c h as t h e m e d i e v a l t r a c t , m i g h t a l s o h a v e b e e n s u n g . If w e a c c e p t t h e i d e a t h a t t h e c h a n t b e t w e e n e p i s t l e a n d g o s p e l h a d p r e v i o u s l y b e e n r e a d as a p s a l m , t h e n t h e t r a c t , w h o s e t e x t is p s a l m i c i n t h e m e d i e v a l s o u r c e s , is as l i k e l y a c a n d i d a t e as t h e g r a d u a l . T h e i n t r o d u c t i o n i n t o t h e R o m a n m a s s of t h e a l l e l u i a as a n e c s t a t i c m e l i s m a t i c chant b e t w e e n the lessons seems to have gone t h r o u g h p r o g r e s s i v e stages. T h e e a r l y documentation extension of its use to is d i f f i c u l t to i n t e r p r e t , chants when sung not least b e c a u s e of One possible possible (See 1970, c o n f u s i o n w i t h s i m p l e c o n g r e g a t i o n a l r e s p o n s e s of ' a l l e l u i a ' a n d t h e a d d i t i o n of a l l e l u i a phrases many during Eastertide. s e q u e n c e of e v e n t s is as f o l l o w s , b u t o t h e r i n t e r p r e t a t i o n s h a v e b e e n p r o p o s e d . F r o g e r 1948, Jammers ' A l l e l u i a ' , B l a n c h a r d 1949, W e l l e s z 1947 a n d 1954, Martimort 1 9 7 3 , to c i t e o n l y r e c e n t studies.) the

I n the f o u r t h c e n t u r y R o m e m a y have s u n g a special, i n d e p e n d e n t a l l e l u i a chant o n E a s t e r D a y o n l y . B y t h e t i m e of J o h n t h e D e a c o n ( l a t e r J o h n I, d . 5 2 6 ) it w a s s u n g o n o t h e r S u n d a y s d u r i n g E a s t e r t i d e ( J o h n ' s letter to S e n a r i u s ; I s i d o r e , De officiis, ecclesiasticis s p e a k i n g of A f r i c a n c u s t o m s ) . T h e s i n g i n g of the a l l e l u i a m a y h a v e c o n t i n u e d i m p l i e s that w h e n he a l l o w s its use b e y o n d E a s t e r t i d e t h i s

to s p r e a d t h r o u g h the c h u r c h year, for G r e g o r y the G r e a t , c o r r e s p o n d i n g w i t h B i s h o p J o h n of S y r a c u s e i n 5 9 8 , a c t u a l l y r e p r e s e n t s a c u t t i n g b a c k of a n e v e n m o r e w i d e s p r e a d p r a c t i c e ' b r o u g h t h e r e b y t h e G r e e k s ' ( G r e g o r y ' s l e t t e r ) . I h a v e h e r e c h o s e n to b e l i e v e t h a t it w a s t h e e x t e n t of t h e a l l e l u i a ' s use t h a t G r e g o r y c u t b a c k (the w o r d is amputavi?nus), sequences, melodiae t h o u g h other e x p l a n a t i o n s h a v e b e e n o f f e r e d : that G r e g o r y a m p u t a t e d t h e m e l o d i e s w e k n o w as o r a n e x t e n d e d j u b i l u s f o r t h e repeat l i k e t h e M i l a n e s e o r O l d R o m a n o r i n t r o d u c e d verses i n s t e a d of the j u b i l u s ( W a g n e r I I , 9 2 , A p e l as is p o s s i b l e . T h e l a c k of u n a n i m i t y i n t h e medieval (Jammers),

1958, 3 7 7 ) . A l l of t h i s is b e s i d e t h e p o i n t , h o w e v e r , if G r e g o r y w a s s p e a k i n g o f a l l e l u i a refrains and end-phrases, it f r o m t h e l a t e r t r a d i t i o n c e r t a i n l y s p e a k s a g a i n s t a n y e a r l y e s t a b l i s h m e n t of t h e r e p e r t o r y as w e k n o w chant-books. S p e c i a l to R o m e w a s t h e p e r f o r m a n c e of G r e e k a n d L a t i n a l l e l u i a s d u r i n g p a p a l v e s p e r s o n E a s t e r E v e . T h i s a n d o t h e r features o f the O l d R o m a n a l l e l u i a r e p e r t o r y h a s l e d to s p e c u l a t i o n a b o u t p o s s i b l e B y z a n t i n e i n f l u e n c e . A l t h o u g h t h e a l l e l u i a w a s s u n g b e f o r e t h e g o s p e l at m a s s i n t h e B y z a n t i n e r i t e , t h e m u s i c a l s e t t i n g o f t h e w o r d alleluia i t s e l f r e m a i n e d b r i e f , i n c o n t r a s t to the W e s t e r n t r a d i t i o n s . D e s p i t e t h e e v i d e n c e of t h e e a r l y W u r z b u r g l e c t i o n a r y (see a b o v e , I I I . 3 . i i ) , t w o l e s s o n s , r a t h e r t h a n t h r e e , are to be f o u n d i n the R o m a n l i t u r g y (as i n t h e B y z a n t i n e ) . The O l d S p a n i s h , G a l l i c a n , a n d M i l a n e s e rites have three. M a r t i m o r t (1984) has p o i n t e d o u t t h a t t h e f i f t h - c e n t u r y J e r u s a l e m l i t u r g y , as p r e s e r v e d i n t h e A r m e n i a n l e c t i o n a r y , h a d a v a r y i n g n u m b e r of l e s s o n s , a n d he c o n c l u d e s t h a t t h e n u m b e r of l e s s o n s w a s fixed i n t h e d i f f e r e n t rites r e l a t i v e l y r e c e n t l y . The following possible developments i n the Western rites may therefore be suggested. If B a i l e y is r i g h t , t h e tract i n R o m a n use is the d e s c e n d a n t of a r e a d i n g

b e t w e e n t h e e p i s t l e a n d g o s p e l . T h e g r a d u a l w a s a d d e d as a p o s t - e p i s t l e r e s p o n s o r y . T h e s i n g i n g of t h e a l l e l u i a g r a d u a l l y e x p a n d e d t h r o u g h t h e c h u r c h y e a r , r e p l a c i n g the t r a c t i n a l l s e a s o n s b u t L e n t . T h e t h e o r y that a c h a n t m i g h t o n c e h a v e b e e n a r e a d i n g a p p e a r s to r e q u i r e t h a t t h e r e w e r e o r i g i n a l l y f o u r lessons i n t h e O l d S p a n i s h a n d M i l a n e s e r i t e s , a n a r r a n g e m e n t l i k e w i s e w i t h a n c i e n t t e s t i m o n y ( B a u m s t a r k 1958, At Milan one lesson b e c a m e the cantus, eventually replaced outside L e n t b y 44). the

a l l e l u i a , w h i l e t h e p s a l m e l l u s e n t e r e d the l i t u r g y a f t e r the p r o p h e c y . T h e r e is n o t r a c e of a t r a c t - l i k e c h a n t i n t h e ( a d m i t t e d l y i m p e r f e c t l y k n o w n ) G a l l i c a n r i t e , b u t i n the O l d S p a n i s h r i t e o n e m i g h t s u p p o s e t h a t t h e t h r e n o s s u f f e r e d the fate of t h e R o m a n t r a c t a n d M i l a n e s e c a n t u s . T h e t h r e n o s w o u l d have b e e n r e p l a c e d b y the p s a l m o . T h e a l l e l u i a c h a n t , t h e l a u d e s , w a s p l a c e d after the g o s p e l ; b u t it too was r e p l a c e d i n L e n t b y a n o t h e r t y p e of r e s p o n s o r i a l c h a n t , s t i l l c a l l e d l a u d e s b u t r e s e m b l i n g r a t h e r t h e p s a l m o . E x p l a n a t i o n s of a s i m i l a r s o r t c a n be d e v i s e d if w e f o l l o w M c K i n n o n a n d t r e a t t h e g r a d u a l / p s a l m o / p s a l m e l l u s as t h e s u c c e s s o r to a r e a d i n g . T o follow a lesson b y a

r e s p o n s o r i a l c h a n t w i t h r e l a t e d text is a n o r d e r i n g w e l l k n o w n f r o m t h e o f f i c e . B u t , as M a r t i m o r t ( 1 9 7 0 ) has p o i n t e d o u t , it is b y n o m e a n s c l e a r l y d e m o n s t r a t e d i n t h e m a s s (see also Hucke 1973, 163-71). While the Milanese psalmelli do bear this r e l a t i o n s h i p , o t h e r c h a n t s d o n o t ; the a l l e l u i a is l i n k e d r a t h e r to t h e g o s p e l , w h i c h i n m o s t r i t e s f o l l o w s i t . R a n d e l ( ' M o z a r a b i c R i t e , M u s i c of t h e ' , NG) arrangement of t h e s i n g i n g of a c o m p l e t e psalm. has a r g u e d that the remnant of p s a l m o a n d c l a m o r i n t h e O l d S p a n i s h l i t u r g y c a n n o t b e t h e

G r e g o r y t h e G r e a t ( P L 7 7 . 956 f f . ) o n c e r e m a r k e d t h a t m a s s c o u l d last a n y w h e r e u p to t h r e e h o u r s . W e s h o u l d n o t u n d e r e s t i m a t e t h e a m o u n t of c e r e m o n i a l a n d s o l e m n r e p e t i t i o n of c h a n t s w h i c h m a y r e g u l a r l y h a v e b e e n practised.

VI.6. (i) (") (i") (iv) (v) (vi) (vii) (viii) (ix) (x) (X,)

G R E G O R Y

T H E

G R E A T

Introduction G r e g o r y and the Deacons G r e g o r y and the A l l e l u i a Isidore of S e v i l l e ; the Liber pontificalis; Romanus X I X T h e Anglo-Saxon Tradition the L i s t of C h a n t ' E d i t o r s ' i n O r d o

T h e Biographies by P a u l W a r n e f r i d and J o h n H y m m o n i d e s T h e ' G r e g o r i a n ' Sacramentary T h e Prologue Gregoiius praesul T h e Reception of the G r e g o r y L e g e n d i n the N i n t h C e n t u r y a n d L a t e r ; D o v e ; the M o d e s G r e g o r y and the L e n t e n C o m m u n i o n s Conclusions the

H u c k e 1955, ' E n t s t e h u n g ' , 1958, T r o b l e m e n ' ; Stablein, ' G r e g o r I.', MGG, M M M A 2 ; Steiner, ' G r e g o r i a n Chant', NG\ H u c k e , ' G r e g o r y the G r e a t ' , NG. (i) Introduction

1968,

T h e ' G r e g o r i a n ' c h a n t r e p e r t o r y b e a r s the n a m e of S t G r e g o r y t h e G r e a t , p o p e f r o m 590 t o 6 0 4 . G r e g o r y ' s a c t u a l s h a r e i n its c o m p o s i t i o n , o r t h e r e g u l a t i o n of its l i t u r g i c a l use, has b e e n m u c h d e b a t e d . S i n c e t h e r e is a g a p of n e a r l y t h r e e c e n t u r i e s unlikely that what e v e n if w e s u b t r a c t finally between it is the G r e g o r y ' s l i f e a n d t h e a p p e a r a n c e of the first c o m p l e t e l y n o t a t e d c h a n t - b o o k s , t h e c h a n t s f o r t h o s e d a y s w h o s e l i t u r g i e s w e r e a d d e d to

e n t e r e d the w r i t t e n m u s i c a l r e c o r d is w h a t G r e g o r y k n e w ,

c a l e n d a r a f t e r G r e g o r y ' s t i m e . It is n e v e r t h e l e s s p o s s i b l e t o a r g u e t h a t a n a n c i e n t c o r e of the r e p e r t o r y , i n s o m e t h i n g v e r y m u c h l i k e the state i n w h i c h w e find it i n t h e l a t e n i n t h c e n t u r y , m i g h t date b a c k to G r e g o r y . T h e a r g u m e n t s are c i r c u m s t a n t i a l , f o r w e have n o r e l i a b l e c o n t e m p o r a r y w i t n e s s to a n y m u s i c a l a c t i v i t y o n G r e g o r y ' s p a r t , a n d m u s t r e l y o n i n f e r e n c e s d r a w n f r o m the date of the t e x t s a n d t h e s t y l e of t h e m u s i c . M o r e d i f f i c u l t y arises f r o m the fact that the v e r y i d e a of G r e g o r y as a c o m p o s e r cannot

b e t r a c e d b a c k e a r l i e r t h a n t h e e i g h t h c e n t u r y , a l t h o u g h t h e r e are p i e c e s o f e v i d e n c e t h a t s o m e c h a n t s m a y v e r y w e l l be as o l d as G r e g o r y ' s t i m e . T h i s s e c t i o n t h e r e f o r e e x a m i n e s t h o s e of G r e g o r y ' s w r i t i n g s w h i c h t o u c h o n m u s i c a l m a t t e r s , t h e n t h e b i o g r a p h i c a l w r i t i n g s of t h e s e v e n t h to t h e n i n t h c e n t u r y , b y w h i c h t i m e t h e G r e g o r i a n l e g e n d w a s f u l l y e s t a b l i s h e d . S o m e p a r t s of t h e c h a n t attempted. G r e g o r y ' s o w n a u t h e n t i c w r i t i n g s d o n o t a l l u d e to t h e c o m p o s i t i o n of m u s i c o n h i s p a r t , b u t n o r , i n t h e m a i n , are t h e y of t h e t y p e t h a t w o u l d d o s o , c o n s i s t i n g l a r g e l y of h o m i l i e s a n d c o m m e n t a r i e s o n sacred texts. H e was an energetic leader i n b o t h c i v i l a n d e c c l e s i a s t i c a l a f f a i r s , a n d a p r o l i f i c w r i t e r , t h e last of t h e f o u r g r e a t d o c t o r s of t h e m e d i e v a l c h u r c h ( a f t e r A u g u s t i n e , J e r o m e , a n d A m b r o s e ) , so t h a t a c t i v i t y at least i n t h e s p h e r e of l i t u r g i c a l o r g a n i z a t i o n has n e v e r b e e n d e n i e d to h i m : it w o u l d b e n o r m a l o n t h e p a r t of s u c h a c h u r c h l e a d e r . B u t t h e o n l y a u t h e n t i c r e f e r e n c e s b y h i m to matters a f f e c t i n g m u s i c c o n c e r n (i) t h e s i n g i n g of c h a n t b y d e a c o n s ; a n d (ii) the occasions w h e n t h e a l l e l u i a a n d K y r i e m i g h t b e s u n g : t h a t i s , t h e y are l i t u r g i c a l repertory w h i c h G r e g o r y is a l l e g e d to h a v e c o m p o s e d are b r i e f l y i n s p e c t e d , a n d a s u m m a r y is

p r e s c r i p t i o n s r a t h e r t h a n p u r e l y m u s i c a l o n e s , at least at first s i g h t .

( i i ) Gregory

and

the

Deacons ( M a n s i 1 7 5 7 - 9 8 , x. 434), G r e g o r y p r o p o s e d a n u m b e r of

A t a C o u n c i l h e l d i n 595

r e f o r m s t o u c h i n g u p o n t h e l i v e s of e c c l e s i a s t i c s ( t h o u g h n o t h i n g is s a i d o f a n y b o d y w h i c h m i g h t b e c a l l e d a ' s c h o l a c a n t o r u m ' ) . O n e of t h e s e a r o s e f r o m t h e f a c t t h a t c l e r i c s w e r e a p p a r e n t l y b e i n g p r o m o t e d to t h e r a n k of d e a c o n o n a c c o u n t of t h e b e a u t y of t h e i r s i n g i n g (see D u c h e s n e 1919, 1 6 9 - 7 0 for epitaphs p r a i s i n g their s i n g i n g skill). B u t s u c h a n o f f i c e r s h o u l d be o c c u p i e d m o r e i n p r e a c h i n g a n d t h e c a r e of s o u l s t h a n i n ' c h a r m i n g the people w i t h his s i n g i n g ' . D e a c o n s shall therefore h e n c e f o r t h not assume t h e f u n c t i o n s of c a n t o r , b u t o n l y r e a d t h e g o s p e l o n s o l e m n f e a s t s . ' A s to t h e s i n g i n g of t h e p s a l m s a n d t h e o t h e r l e s s o n s , I d e c r e e t h e y s h a l l be e x e c u t e d b y s u b d e a c o n s , a n d , i n case of n e c e s s i t y , b y c l e r k s i n l o w e r o r d e r s . '

( i i i ) Gregory

and

the

Alleluia about

P a r t of a l e t t e r w r i t t e n i n O c t o b e r 598 b y G r e g o r y to J o h n , b i s h o p of S y r a c u s e ,

R o m a n usage c o n c e r n i n g t h e s i n g i n g of t h e a l l e l u i a , h a s o c c a s i o n e d m u c h d i s p u t e ( P L 7 7 . 9 5 6 ) . T h e p a s s a g e o n q u e s t i o n w a s b r o u g h t t o g e t h e r w i t h a w e a l t h of o t h e r early evidence about the alleluia by Froger (1948, 'Alleluia'). I have expressed r e s e r v a t i o n s a b o v e ( V I . 5 . v ) , as d i d M a r t i m o r t ( 1 9 7 0 ) , a b o u t t h e u s u a l a s s u m p t i o n t h a t G r e g o r y w a s d i s c u s s i n g t h e a l l e l u i a c h a n t of m a s s . T h e same letter touches u p o n G r e g o r y ' s p r o v i s i o n for s i n g i n g the K y r i e ' K y r i e e l e i s o n ' a n d ' C h r i s t e e l e i s o n ' (see a b o v e , 11.17). sometimes w i t h 'other t h i n g s ' ( p r e s u m a b l y other L a t i n verses) a n d o n w e e k d a y s s i m p l y w i t h

I n a n o t h e r passage G r e g o r y defends p l a c i n g the L o r d ' s P r a y e r straight after C a n o n o f m a s s , w h e r e it is r e c i t e d b y t h e p r i e s t a l o n e .

the

( i v ) Isidore Rom anus

of Seville; XIX

the L i b e r p o n t i f i c a l i s ; the List of Chant

'Editors'

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Ordo

A s S o l a n g e C o r b i n p o i n t e d o u t ( 1 9 6 0 , Eglise, o f I s i d o r e of S e v i l l e (De illustribus scriptoribus

1 7 3 ) , t h e o l d e s t ' l i f e ' of G r e g o r y is t h a t ecclesiasticis, c h . 27, P L 75. 490), knew pupil

w h o h a s n o t h i n g to say o f l i t u r g i c a l w o r k o n G r e g o r y ' s p a r t . I s i d o r e (c.560-636) was p r e s u m a b l y the Ildefonsus The of Toledo pontificalis source of s o m e (De by of t h e viris i n f o r m a t i o n i n the illustribus, and ch. 2, life by his PL 96),

o f G r e g o r y f r o m h i s b r o t h e r L e a n d e r , a n d w a s also v e r y f a m i l i a r w i t h h i s w r i t i n g s . H e (c.607-67) (editions likewise composite fifteenth It

u n h e l p f u l in the present case. Liber Duchesne i n M G H ) is a c o l l e c t i o n of b i o g r a p h i e s of t h e p o p e s , w h i c h b e g a n i n t h e s i x t h c e n t u r y a n d w a s g r a d u a l l y b u i l t u p , w i t h c o n t r i b u t i o n s of i n c r e a s i n g l e n g t h , d o w n t o t h e c e n t u r y . T h e i n f o r m a t i o n on G r e g o r y , very scanty, was p r o b a b l y r e c o r d e d i n 638.

s a y s n o t h i n g of t h e c o m p o s i t i o n of c h a n t s , a n d is i n fact s i l e n t a b o u t l i t u r g i c a l a c t i v i t y a l t o g e t h e r . N o r d o e s it m e n t i o n t h e e x i s t e n c e of a s c h o l a c a n t o r u m , w i t h a n i n t e r e s t i n w h i c h G r e g o r y w a s also to b e c r e d i t e d . N o t u n t i l t h e b i o g r a p h y o f S e r g i u s I e x i s t e n c e of a s c h o o l s e e m to b e i m p l i e d . A n i n t e r e s t i n g d o c u m e n t e n t i t l e d ' D e c o n v i v i o sive p r a n d i o a t q u e c e n i s m o n a c h o r u m ' h a s s u r v i v e d , w h i c h c a n be d a t e d to t h e late s e v e n t h c e n t u r y ( t h e last p o p e o n it is M a r t i n I , 6 4 9 - 5 5 ) . It e n d s w i t h a r e m a r k a b l e l i s t of p o p e s a n d R o m a n a b b o t s w h o , its a u t h o r c l a i m s , m a d e i m p o r t a n t c o n t r i b u t i o n s to l i t u r g y , c h a n t , a n d o t h e r m a t t e r s . A t o n e t i m e it w a s c l a i m e d to b e t h e c o m p o s i t i o n of J o h n , a b b o t of t h e m o n a s t e r y of S t M a r t i n a n d A r c h i c a n t o r of S t P e t e r ' s , w h o c a m e to E n g l a n d i n P o p e A g a t h o ' s t i m e ( 6 7 8 - 8 1 ) to t e a c h c h a n t i n N o r t h u m b r i a (as r e c o u n t e d b y B e d e ) . T h i s a t t r i b u t i o n h a s b e e n r e j e c t e d s i n c e A n d r i e u ' s e d i t i o n of t h e t e x t i n n o . X I X of h i s O r d i n e s R o m a n i ( A n d r i e u 1 9 3 1 - 6 1 , i i i . 2 2 3 - 4 ) , b u t t h a t t h e d o c u m e n t m a y s t e m f r o m late s e v e n t h c e n t u r y R o m e (albeit i n the n i n t h - c e n t u r y m a n u s c r i p t St G a l l , S t i f t s b i b l i o t h e k p a r t i c u l a r l y as r e g a r d s t h e r e a s o n s f o r its s e l e c t i o n of (edidit\ circoli ordinavit) cantum). personages. annalem cantum; anni Holy 349), is n o t n o w s e r i o u s l y q u e s t i o n e d . T h e e v a l u a t i o n of its c o n t e n t s , h o w e v e r , is n o t e a s y , E i g h t p o p e s , a n d t h e t h r e e a b b o t s , are m e n t i o n e d as h a v i n g ' e d i t e d ' o r ' o r d e r e d ' t h e c y c l e o f c h a n t s f o r t h e y e a r (omnem T h u s of B o n i f a c e I I ( 5 3 0 - 2 ) it is s a i d t h a t ' i n s p i r e d b y t h e (6877 0 1 ) , w h o is s a i d t o h a v e b e e n e d u c a t e d u n d e r t h e c a r e of a ' p r i o r c a n t o r u m ' , d o e s t h e

S p i r i t , h e a s s e m b l e d t h e r u l e a n d a r r a n g e d t h e c y c l e of c h a n t s f o r t h e y e a r ' ( ' r e g o l a m c o n s c r i p s i t et c a n t i l e n a a n n i c i r c o l i o r d i n a v i t ' ) . T h e r e m a r k s are q u i t e f o r m a l , a n d n o o n e p e r s o n a g e s t a n d s o u t as m o r e i m p o r t a n t f o r m u s i c t h a n a n y o t h e r . K n o w l e d g e o f the l i t u r g y a n d competence i n t h e c e l e b r a t i o n of t h e d i v i n e s e r v i c e w e r e of course a m o n g t h e p r i m e r e q u i r e m e n t s of a n y h i g h - r a n k i n g R o m a n p r e l a t e i n t h e s e t i m e s . T h e p r o g r e s s i o n f r o m m o n k i n o n e of t h e R o m a n m o n a s t e r i e s t o a b b o t a n d at t h e s a m e

t i m e l e a d e r of t h e s c h o l a c a n t o r u m w a s n o r m a l . T h e list is n e v e r t h e l e s s t h a t n o t e v e r y p o p e is m e n t i o n e d . N e x t a f t e r B o n i f a c e c o m e s G r e g o r y . m u c h is m a d e of h i m , a n d h i s c o m m e n t a r i e s t e r m s ; t h e n c o m e s t h e f o r m a l c l o s e 'et c a n t u m a n n i c i r c o l i n o b i l i e d i d i t ' .

selective i n Relatively

a n d h o m i l i e s are a l l c i t e d i n r e v e r e n t

(v)

The Anglo-Saxon

Tradition come

A n i m p o r t a n t i m p u l s e t o w a r d s t h e c r e a t i o n of a G r e g o r i a n l e g e n d m u s t h a v e

f r o m E n g l a n d . T h e first r e a s o n f o r t h i s w a s G r e g o r y ' s a c t i o n i n s e n d i n g A u g u s t i n e to E n g l a n d as a m i s s i o n a r y i n 5 9 7 , t h e first s t e p i n t h e r e c l a m a t i o n of E n g l a n d f o r the R o m a n c h u r c h . T h e s e c o n d reason was that E n g l i s h m o n a s t i c i s m i n the later seventh c e n t u r y e n t e r e d a p e r i o d of s p l e n d i d a c h i e v e m e n t , G r e g o r y , held in such h i g h esteem in E n g l a n d . T h e r e are t w o i m p o r t a n t E n g l i s h s o u r c e s of i n f o r m a t i o n a b o u t G r e g o r y . T h e first is a n a n o n y m o u s l i f e w r i t t e n b y a m o n k of W h i t b y s o m e t i m e b e t w e e n 7 0 4 a n d 7 1 4 Colgrave 1968); the other is B e d e ' s h i s t o r y of t h e English church and (ed. people, so that it w a s e v e n t u a l l y a b l e to i n f l u e n c e F r a n k i s h t h i n k i n g o n l i t u r g y a n d l e a r n i n g , n o t least t h e F r a n k ' s n o t i o n of

c o m p l e t e d i n 731 ( e d . P l u m m e r , t r a n s . S h e r l e y - P r i c e ) . T h e a c h i e v e m e n t s of G r e g o r y here r e c o u n t e d do not i n c l u d e m u s i c a l ones, a n d h a r d l y even t o u c h u p o n l i t u r g y . O f t h e m a n y c h a r m i n g e p i s o d e s l a t e r to b e r e c o u n t e d b y J o h n H y m m o n i d e s G r e g o r y ' s a t t e n t i o n t o t h e s c h o l a , h i s c o m p i l a t i o n of a n a n t i p h o n e r , a n d so o n t h e Whitby m o n k says n o t h i n g . W e d o find f o r t h e first t i m e t h e s t o r y of t h e d o v e w h i c h d e s c e n d s u p o n G r e g o r y ; b u t he is w r i t i n g n o t n e u m e s , as d e p i c t e d i n ' H a r t k e r ' s A n t i p h o n e r ' , but a commentary on Ezekiel. T h e pontificalis, author h a d access to the information about made G r e g o r y i n t h e Liter a n d i n r e t u r n h i s l i f e w a s k n o w n l a t e r i n R o m e , to 567. various

J o h n H y m m o n i d e s . Its o n l y s u r v i v i n g s o u r c e is a n e a r l y n i n t h - c e n t u r y c o p y , p r o b a b l y at S t G a l l a n d n o w p a r t of S t G a l l , S t i f t s b i b l i o t h e k B e d e ' s h i s t o r y is of s p e c i a l i n t e r e s t cantors who came from Rome i n the seventh century as m u c h f o r w h a t it says a b o u t t h e

as f o r its i n f o r m a t i o n o n

G r e g o r y . G r e g o r y ' s a n s w e r s to q u e s t i o n s A u g u s t i n e sent b a c k r e g a r d i n g p r o b l e m s he w a s f a c i n g are j u s t l y r e g a r d e d as c r u c i a l to an u n d e r s t a n d i n g of the s i g n i f i c a n c e of the m i s s i o n . G r e g o r y r e c o m m e n d s ( i . 27) t h a t A u g u s t i n e m a k e use of w h a t e v e r l i t u r g i c a l c u s t o m s s e e m b e s t f o r t h e n e w E n g l i s h c h u r c h . ( T h e passage w a s q u o t e d i n t h e n i n t h century by A m a l a r i u s (ed. Hanssens, antiphoner.) T h i s is c o n s i s t e n t i . 363) i n j u s t i f i c a t i o n of h i s r e v i s i o n of the w i t h the attitude d i s p l a y e d i n the abovementioned

l e t t e r t o J o h n of S y r a c u s e , to w h o m he w r o t e : If this c h u r c h [i.e. that of C o n s t a n t i n o p l e ] or any other has some good t h i n g , then, just as I r e p r i m a n d m y inferiors w h e n they c o m m i t a c r i m e , so am I ready to imitate them w h e n they have s o m e t h i n g of w o r t h . It w o u l d be f o l l y so to set up the p r i m a c y as to d i s d a i n the l e a r n i n g of what is better. E x a c t l y w h a t A u g u s t i n e m a n a g e d to i n t r o d u c e i n the w a y of l i t u r g i c a l c u s t o m s R o m a n , G a l l i c a n i s debatable (see D e a n e s l y 1 9 6 4 ) . B u t c o n t a c t s w i t h R o m e were

m a i n t a i n e d . T h e i m p o r t a n c e of p r o p e r l i t u r g i c a l o b s e r v a n c e t o t h e l i f e of t h e c h u r c h is u n d e r l i n e d b y t h e fact that i n 6 8 0 J o h n , a r c h c a n t o r of S t P e t e r ' s a n d a b b o t of t h e m o n a s t e r y of St M a r t i n , came f r o m R o m e to teach i n N o r t h u m b r i a . A t M o n k w e a r m o u t h , ' i n a c c o r d a n c e w i t h the i n s t r u c t i o n s of t h e P o p e [ A g a t h o ] , A b b o t J o h n t a u g h t t h e c a n t o r s o f t h e m o n a s t e r y t h e t h e o r y a n d p r a c t i c e of s i n g i n g a n d r e a d i n g a l o u d . . .' ( B e d e , i v . 18). L i t u r g i c a l books were p r o d u c e d for reference, cantors f r o m elsewhere c a m e to l e a r n , a n d J o h n h i m s e l f t r a v e l l e d a b o u t . B e d e also says that b o t h i n the seventh c e n t u r y a n d i n his o w n t i m e there came n o r t h singers 'trained i n vocal m u s i c b y the successors of b l e s s e d P o p e G r e g o r y ' s d i s c i p l e s i n K e n t ' i n this instance M a b a n , r . 7 1 0 ( v . 2 1 ) ; p r e v i o u s l y , a n d t h e first to d o s o , c a m e E d d i , o r S t e p h e n , c . 6 7 0 ( i v . 2 2 ) . T h e p r o u d l i n k w i t h G r e g o r y w a s s t i l l p r e s e n t i n t h e m i n d s of e i g h t h - c e n t u r y E n g l i s h m o n k s ; i n d e e d it w a s t o r e m a i n so f o r m a n y c e n t u r i e s ( f o r t h e e x a m p l e o f e l e v e n t h - c e n t u r y G l a s t o n b u r y see H i l e y 1986, p r o v i d e s the link with the Carolingian era. 'Thurstan'). Ordained deacon at Rome, he was A m e m b e r of t h e N o r t h u m b r i a n r o y a l h o u s e at t h e t i m e B e d e w a s w r i t i n g , E g b e r t , a p p o i n t e d b i s h o p of Y o r k a b o u t 7 3 2 . I n a l e t t e r of 7 3 5 w h i c h s t i l l s u r v i v e s , B e d e Eadberht

a d v i s e d h i m to a p p l y f o r t h e p a l l i u m , w h i c h he o b t a i n e d . H i s b r o t h e r

became k i n g i n 738, and w i t h his s u p p o r t E g b e r t f o u n d e d a cathedral school i n Y o r k w h e r e , a m o n g others, A l c u i n was a p u p i l a n d eventually master. T h e vitality of the G r e g o r i a n t r a d i t i o n w a s m a i n t a i n e d . I n d e e d , w h a t e v e r state of c o d i f i c a t i o n t h e l i t u r g y h a d r e a c h e d at Y o r k i n E g b e r t ' s t i m e (he d i e d i n 7 6 6 ) , t h e c o m p o s i t i o n of t h e b o o k s w a s a t t r i b u t e d to G r e g o r y h i m s e l f . W h a t is m o r e , t h e s e w e r e n o t b o o k s of p r a y e r s , w h i c h o n e m i g h t e x p e c t , b u t c h a n t - b o o k s . I n t w o p l a c e s i n h i s Dialogus institutionis ecclesiasticae ( P L . 8 9 , 3 7 7 - 4 5 1 ) , a t r e a t i s e o n d i s c i p l i n e , r e f e r e n c e is m a d e to

beatus G r e g o r i u s i n suo antiphonario et missali libro per paedagogum n o s t r u m b e a t u m A u g u s t i n u m transmisit o r d i n a t u m et r e s c r i p t u m . . . beatus G r e g o r i u s per praefatum l c g a t u m , i n antiphonario suo et missali . . . n o n s o l u m nostra testantur antiphonaria, sed et ipsa quae c u m m i s s a l i b u s c o n s p e x i m u s ad a p o s t o l o r u m Petri et Pauli l i m i n a . ( P L 89, 4 4 0 - 2 , cited G e v a e r t 1890, 8 0 - 1 a n d A s h w o r t h 1958.) A l t h o u g h G e v a e r t t h o u g h t t h e t e x t u n a u t h e n t i c , m o d e r n h i s t o r i a n s s e e m n o t to d i s p u t e E g b e r t ' s a u t h o r s h i p (see, f o r e x a m p l e , H a d d a n a n d S t u b b s 1 8 6 9 - 7 1 , i i i . 413 16, and Ashworth 1959, despite the a r g u m e n t that the b o o k s c a n n o t have been c o m p i l e d o r i g i n a l l y b y G r e g o r y ) . It s e e m s a l m o s t c e r t a i n t h a t t h e s e w e r e b o o k s w i t h texts o n l y , not notation. Egbert's testimony antedates by o n l y half a c e n t u r y s u c h I t a l i a n d o c u m e n t s as t h e R o m a n a n t i p h o n e r of H a d r i a n I ( 7 7 2 - 9 5 ) s e e n b y A m a l a r i u s at Corbie, the late eighth-century antiphoner fragments from Lucca (Lucca, (Froger B i b l i o t e c a C a p i t o l a r e 490), 1979, 1968, w i t h the ' G r e g o r i u s praesul m e n t i s ' p r o l o g u e

' F r a g m e n t ' ) , a n d the e i g h t h - c e n t u r y I t a l i a n m i s s a l f r a g m e n t s ( c h a n t t e x t s i n n o . 1401, also facs. G a m b e r 1 9 6 2 , 336). T h e C o r b i e a n t i p h o n e r is l o s t ; the

smaller hand) R o m e , Biblioteca A p o s t o l i c a V a t i c a n a , V a t . lat. 10644see G a m b e r o t h e r s are u n n o t a t e d .

(vi)

The Biographies

by Paul

Warnefrid

and John

Hymmonides

T w o b i o g r a p h i e s of G r e g o r y , w i d e l y s e p a r a t e d i n c h a r a c t e r a n d d a t e , i l l u s t r a t e t h e e n o r m o u s g r o w t h of i n t e r e s t i n G r e g o r y d u r i n g the e i g h t h to n i n t h c e n t u r i e s , t h a t i s , at t h e t i m e d u r i n g w h i c h F r a n k i s h r u l e r s m a d e s u c h e f f o r t s to ' R o m a n i z e ' t h e l i t u r g y in their lands. P a u l W a r n e f r i d ('the eighth century. Deacon') w r o t e a b r i e f b i o g r a p h y i n t h e s e c o n d h a l f of the It e x i s t s i n t w o v e r s i o n s , t h e o r i g i n a l o n e ( e d . G r i s a r 1887) being

shorter a n d the other ( i n P L 75. 1-59)

i n t e r p o l a t e d . E v e n i n t h e P L e d i t i o n it t a k e s 58-242). m a n u s c r i p t s of the

less t h a n t w e n t y c o l u m n s . J o h n H y m m o n i d e s , w r i t i n g i n 8 7 2 - 3 , left a t e x t o f n e a r l y 200 c o l u m n s i n the m o d e r n e d i t i o n ( P L 75. G r i s a r ' s e d i t i o n is b a s e d eleventh century (145, W a r n e f r i d gives the p r i n c i p a l l y o n three Montecassino

146, a n d 110) a n d s i x t e e n o t h e r I t a l i a n s o u r c e s . O t h e r , n o n ' L o m b a r d ' (south Italian) v e r s i o n of G r e g o r y ' s w o r k . John

I t a l i a n s o u r c e s are v a r i o u s l y i n t e r p o l a t e d w i t h e x t r a s t o r i e s a n d o t h e r m a t e r i a l . P a u l H y m m o n i d e s ( a l s o ' t h e D e a c o n ' ) k n e w of t w o l i v e s , a L o m b a r d o n e ( P a u l ' s ) a n d a n E n g l i s h o n e ( t h e m o n k of W h i t b y ' s ) , a n d at t h e b e h e s t of P o p e J o h n V I I I (872-82) n o w p r o v i d e d a R o m a n v i t a . S i n c e even his ardent collector's zeal m i s s e d s o m e of the s t o r i e s i n t h e i n t e r p o l a t e d P a u l t e x t , it m a y b e a s s u m e d he k n e w o n l y t h e o r i g i n a l . P a u l d o e s n o t g i v e t h e s t o r y of t h e d o v e w h i c h d e s c e n d s u p o n G r e g o r y , a l t h o u g h t h e h o m i l i e s are m e n t i o n e d . N o r d o e s he say a n y t h i n g o f l i t u r g i c a l , let a l o n e m u s i c a l , activity o n G r e g o r y ' s part. T h e interpolated versions ( P L 75. 57-8) notices that G r e g o r y , d i c t a t i n g i n the next a d d the d o v e , but Gregory's and, spying d u r i n g G r e g o r y ' s w o r k o n E z e k i e l , not o n a n a n t i p h o n e r : a f a m i l i a r o f r o o m , is m a k i n g p a u s e s ,

t h r o u g h t h e k e y h o l e , sees t h a t t h i s h a p p e n s w h e n e v e r a w o n d r o u s d o v e o n h i s h e a d s p e a k s i n t o h i s e a r . T h e s e r v a n t is f o r b i d d e n to t e l l of t h e e v e n t s , b u t d o e s so w h e n he h e a r s i l l b e i n g s p o k e n of G r e g o r y a f t e r h i s d e a t h . A l s o a m o n g the i n t e r p o l a t i o n s is t h e i n f o r m a t i o n t h a t G r e g o r y a r r a n g e d t h e e n t i r e p o p u l a t i o n of R o m e i n s e v e n g r o u p s , to s i n g t h e L e t a n i a s e p t i f o r m i s a f t e r a v i s i t a t i o n of t h e p l a g u e ( P L 7 5 . 59). T h e g r e a t l i t a n y , s u n g as t h e p e n i t e n t i a l p r o c e s s i o n g o e s f r o m c h u r c h to c h u r c h , is d e s c r i b e d i n greater d e t a i l b y J o h n ( P L 75. 80). H e k n o w s a n d describes p i c t u r e s of G r e g o r y , w i t h a d o v e , b u t m u s i c does not enter into his e x p l a n a t i o n ( P L 75. After Gregory's death, Peter the Deacon, Gregory's f a m i l i a r , is h i m s e l f on 222). his

d e a t h b e d : s e e i n g t h a t s o m e of G r e g o r y ' s b o o k s are a b o u t to be b u r n t , he f o r b i d s t h e s a c r i l e g i o u s act, c i t i n g t h e d o v e ' s m i r a c u l o u s a p p e a r a n c e as e v i d e n c e of the b o o k s ' h o l y inspiration. T h e m a i n i n t e r e s t , h o w e v e r , of J o h n ' s b o o k lies i n s e c t i o n s i i . 6 - 1 0 as verse by Stablein, M M MA 2. 143*). In ch. 6 we are told ( P L 75. 9 0 - 2 ) , that Gregory palace w h e r e G r e g o r y ' s l i t u r g i c a l a n d m u s i c a l a c t i v i t y is d e s c r i b e d i n c o l o u r f u l p r o s e ( p r i n t e d 'antiphonarium centonem cantorum studiosissimus nimis utiliter compilavit', 'con-

s t i t u t e d ' the s o n g - s c h o o l w i t h t w o d w e l l i n g s , b y S t P e t e r ' s a n d the L a t e r a n

r e s p e c t i v e l y , w h e r e h i s c o u c h , c a t - o ' - n i n e - t a i l s f o r h e l p i n g the c h o i r b o y s l e a r n t h e i r c h a n t , a n d t h e ' a u t h e n t i c a n t i p h o n e r ' are s t i l l o n d i s p l a y f o r the r e v e r e n t v i s i t o r .

A l t h o u g h i t i s easy t o d i s m i s s t h i s as p i o u s fiction, J o h n c a n n o t b e p r e s u m e d t o h a v e i n v e n t e d w i l f u l l y . It is l i k e l y t h a t h e r e c o u n t e d w h a t w a s b e l i e v e d i n h i s d a y , a n d o n e m u s t e x p l a i n h o w t h e s e b e l i e f s a r o s e . T h e ' a u t h e n t i c a n t i p h o n e r ' m a y b e o n e of t h o s e s e e n b y E g b e r t , o r a s u c c e s s o r . T h e d e c i s i o n t o p l a c e G r e g o r y ' s n a m e i n w r i t i n g at i t s h e a d t h i s h a p p e n e d to t h e s a c r a m e n t a r y sent b y H a d r i a n t o C h a r l e m a g n e i n t h e late 780s a n d t h e o n l y s l i g h t l y later ' B l a n d i n i e n s i s ' i s d i f f i c u l t to p i n d o w n c h r o n o l o g i c a l l y . It m a y h a v e b e e n c o n t e m p o r a n e o u s w i t h i t s a p p e a r a n c e o n t h e s a c r a m e n t a r y . I t m a y have h a p p e n e d i n F r a n c e rather than R o m e . B u t even before the 780s b o t h R o m e a n d its c l i e n t s e v i d e n t l y b e l i e v e d i n G r e g o r y ' s a u t h o r s h i p . U p o n the b o o k c o u l d easily have f o l l o w e d the c o u c h , the w h i p , a n d a belief that G r e g o r y w a s the o r i g i n a t o r of a r r a n g e m e n t s i n t h e field of m u s i c a l a d m i n i s t r a t i o n as w e l l as c o m p o s i t i o n . L e t it b e stressed again that we need n o t m i s t r u s t J o h n ' s veracity, even t h o u g h w e d o u b t the a n t i q u i t y o f t h e t h i n g s he d e s c r i b e d . T h e o t h e r chapters i n J o h n ' s narrative speak of t h e r e c e p t i o n of G r e g o r y ' s c h a n t i n other l a n d s . T h e G e r m a n s a n d G a u l s cannot s i n g it p r o p e r l y ( c h . 7 ) ; J o h n the C a n t o r t a k e s it t o B r i t a i n ( c h . 8 ) ; C h a r l e m a g n e t r i e s t o a s c e r t a i n w h y t h e F r a n k s a r e n o t s i n g i n g as t h e R o m a n s d o , a n d M e t z i s e s t a b l i s h e d as a c h a n t c e n t r e (chs. 9 - 1 0 ) . I n t r i g u i n g l y , J o h n says that w h e n t h e R o m a n s i n g e r s w e r e c h a l l e n g e d , ' t h e y p r o b a b l y s h o w e d the authentic a n t i p h o n e r ' to the F r a n k s . D o e s this m e a n that it h a d m u s i c a l n o t a t i o n , i n J o h n ' s d a y at least? B u t h o w o l d w a s t h e b o o k h e k n e w ? A s i n t h e case of t h e s a c r a m e n t a r y , w h o s e a n c e s t r y s c h o l a r s d o i n d e e d t r a c e b a c k t o a ( n o l o n g e r e x t a n t ) r e d a c t i o n b y G r e g o r y I , it i s l i k e l y t h a t P r a n k i s h d e m a n d s f o r ' a u t h e n t i c ' c h a n t b o o k s s t i m u l a t e d t h e i r r e d a c t i o n a n d p r o d u c t i o n i n R o m e . It is a l s o likely that the A n g l o - S a x o n t r a d i t i o n was a decisive factor: witness their interest b o t h in G r e g o r y personally and i n acquiring authentic books (for example, the booty b r o u g h t back f r o m six j o u r n e y s to R o m e b y B e n e d i c t B i s c o p , abbot of S S Peter a n d P a u l ' s , C a n t e r b u r y a n d f o u n d e r of the d o u b l e m o n a s t e r y of M o n k w e a r m o u t h a n d J a r r o w ( d . 6 8 9 ) r e l a t e d b y B e d e i n h i s Historia Abbatum).

( v i i ) The

'Gregorian'Sacramentary

A s a l r e a d y r e c o u n t e d (see a b o v e , I I I . 3 ) , G r e g o r y a l s o l e n t h i s n a m e t o t h e ' G r e g o r i a n s a c r a m e n t a r y ' , a p r a y e r - b o o k o f t h e R o m a n c h u r c h w h i c h i n o n e f o r m at so-called H a d r i a n u m w a s sent to C h a r l e m a g n e by Pope Hadrian leastthe time at s o m e

b e t w e e n 7 8 4 a n d 791 at t h e r e q u e s t o f t h e F r a n k i s h r u l e r . ( C h a r l e m a g n e ' s r e q u e s t h a d been c o n v e y e d to H a d r i a n b y P a u l W a r n e f r i d . ) I n the letter w h i c h a c c o m p a n i e d i t , a n d i n t h e earliest s u r v i v i n g c o p y , C a m b r a i , B i b l i o t h e q u e M u n i c i p a l e 164, d a t e d 8 1 1 12, i t i s a t t r i b u t e d t o G r e g o r y . I t s e e m s p o s s i b l e t h a t m a n u s c r i p t s o f c h a n t t e x t s w i t h a s i m i l a r a t t r i b u t i o n also c i r c u l a t e d , a n d t h a t h e x a m e t e r s ) Gregorius by Hadrian. T h e H a d r i a n u m represents not a m o d e r n b o o k o f the late e i g h t h c e n t u r y d e s i g n e d praesul e l e v e n t h c e n t u r y a c t u a l l y s a i d t h a t t h e Gregorius is t h e g i s t o f t h e v e r s e praesul prologue (in (see b e l o w , s e c t i o n v i i i ) . A S a i n t - M a r t i a l w r i t e r o f t h e p r o l o g u e itself w a s c o m p o s e d

to m e e t F r a n k i s h r e q u i r e m e n t s ,

b u t a b o o k of m a s s e s as n o r m a l l y c e l e b r a t e d

by a

R o m a n p o p e , t h e s t a t i o n a l l i t u r g y w h e n h e v i s i t e d the v a r i o u s c h u r c h e s of t h e E t e r n a l C i t y , i n a r e c e n s i o n p r o b a b l y l i t t l e d i f f e r e n t f r o m t h e state i n w h i c h it w a s l e f t b y Gregory II, (Ashworth authenticated w h o a d d e d t h e f o r m u l a r i e s f o r t h e T h u r s d a y s of L e n t . A b o u t e i g h t y are r e c k o n e d to b e b y G r e g o r y t h e depending on parallels Great his 'In 1959, 1960), their identification with prayers i n the ' G r e g o r i a n ' sacramentary homilies and other

w r i t i n g s . B u t the t i t l e o f t h e s a c r a m e n t a r y ,

n o m i n e d o m i n i i n c i p i t s a c r a m e n t o r i u m , de c i r c u l o a n n i e x p o s i t u m , a sancto G r e g o r i o p a p a R o m a n o e d i t u m , ex a u t h e n t i c o l i b r o b i b l i o t h e c a e c u b i c u l i s c r i p t u m ' , m a y w e l l r e f e r as m u c h t o G r e g o r y I I as to G r e g o r y I .

( v i i i ) The Prologue

G r e g o r i u s praesul s e n t to C h a r l e m a g n e , perhaps because

P e r h a p s by analogy w i t h the sacramentary

R o m a n a n t i p h o n e r s a l r e a d y h a d s u c h a t i t l e , t h e earliest e x t a n t ' c h a n t ' b o o k b e a r s a t i t l e a s c r i b i n g i t s c o n t e n t s to G r e g o r y . B r u s s e l s , B i b l i o t h e q u e R o y a l e the e i g h t h c e n t u r y , begins w i t h the f o l l o w i n g :

IN D E I N O M E N INCIPIT A N T E F O N A R I U S O R D I N A T U S A S A N C T O G R E G O R I O PER C I R C U L U M A N N I

10127-10144,

t h e s o - c a l l e d ' B l a n d i n i e n s i s ' , w r i t t e n s o m e w h e r e i n n o r t h F r a n c e i n t h e last y e a r s of

P e r h a p s j u s t as o l d , h o w e v e r , is t h e L u c c a s o u r c e of t h e Liber

pontificalis,

Lucca,

B i b l i o t e c a C a p i t o l a r e 4 9 0 , p o s s i b l y o n c e p a r t of a c h a n t - b o o k , w h i c h a l r e a d y h a s o n e of t h e l o n g e s t v e r s i o n s of a c o m p l e t e p o e m b e g i n n i n g ' G r e g o r i u s p r a e s u l m e n t i s ' ( f a c s . P a l M u s 2 , p i . 3 ) . It is n o t c l e a r w h e t h e r its I t a l i a n r a t h e r t h a n n o r t h e r n p r o v e n a n c e is s i g n i f i c a n t . T h i s a n d o t h e r v e r s i o n s of the p r o l o g u e h a v e b e e n d i s c u s s e d b y S t a b l e i n ( 1 9 6 8 ) , w h o a l s o r e p o r t e d a n e v e n o l d e r s o u r c e , n o w l o s t , f r o m t h e d i o c e s e of V e r c e l l i . T w o of t h e s o u r c e s e d i t e d b y H e s b e r t i n A M S (see 2 - 3 ) Basilica S. G i o v a n n i C I X ( w r i t t e n i n north-east m a y be c i t e d h e r e : Monza, F r a n c e i n the m i d d l e o f the n i n t h slightly later):

c e n t u r y ) , a n d P a r i s , B i b l i o t h e q u e N a t i o n a l e , l a t . 17436 ( S o i s s o n s , Monza C I X
GREGORIUS PRAESUL MERITIS ET NOMINE DIGNUS UNDE GENUS DUCIT S U M M U M CON DESCEND ENS HONOREM RENOVAVIT PATRUM MONIMENTA

Paris 17436
GREGORIUS PRAESUL MERITIS ET NOMINE DIGNUS

SUMMUM CONSCENDIT HONOREM QUI RENOVANS M O N U M E N T A PATRUMQUE PRIORUM TUM CONPOSUIT HUNC MUSICAE ARTIS

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S t a b l e i n a l s o r e p o r t s t h e r e m a r k a b l e fact t h a t the M e t z p a t t e r n i n g of its l i t u r g y a n d m u s i c o n a R o m a n m o d e l w e n t so f a r as t h e a d a p t a t i o n o f the G r e g o r i u s t e x t to

' A n c h i l r a m n u s presul d u m s u m m u m conscendit

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. . .', t h o u g h

without 350).

m e n t i o n of a ' b o o k of m u s i c a l a r t ' ( S t a b l e i n 1968, 543 n . 2 3 , a f t e r A n d r i e u 1930,

(ix) the

The

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T h e d o v e is n o t s e e n i n c o n n e c t i o n w i t h t h e d i c t a t i o n of m u s i c u n t i l t h e f r o n t i s p i e c e of t h e late t e n t h - c e n t u r y a n t i p h o n e r of H a r t k e r of S t G a l l ( P a l M u s 11/1), w h e r e neumes are a c t u a l l y b e i n g w r i t t e n . A c h a n t - b o o k a n d a r e p r e s e n t a t i o n of G r e g o r y are b r o u g h t t o g e t h e r f o r t h e first t i m e i n t h e M o n z a c a n t a t o r i u m of t h e m i d - n i n t h c e n t u r y , M o n z a , B a s i l i c a S . G i o v a n n i C I X ( n o r t h - e a s t F r e n c h ; e d . H e s b e r t in AMS). K i n g D a v i d ( S t a b l e i n , ' G r e g o r y I . ' , MGG see S t a b l e i n 1968, n. 39). H e r e an i v o r y d i p t y c h o f t h e late a n t i q u i t y d e p i c t i n g t w o c o n s u l s w a s a l t e r e d t o s h o w G r e g o r y a n d
y

773; for fuller iconographical i n f o r m a t i o n

A l s o l e g e n d a r y , it s e e m s , is t h e a t t r i b u t i o n t o G r e g o r y of t h e c r e a t i o n of t h e f o u r p l a g a l m o d e s i n r e s p o n s e to A m b r o s e ' s f o u r a u t h e n t i c o n e s , a s t o r y first p u t a b o u t , as far as I a m a w a r e , b y A r i b o i n t h e e l e v e n t h c e n t u r y ( G S i . 2 1 0 , C S M 2). G r e g o r y ' s a u t h o r s h i p of s a c r a m e n t a r y , a n t i p h o n e r , o r m i s s a l w a s v a r i o u s l y a c c e p t e d i n t h e n i n t h c e n t u r y a n d l a t e r . A m a l a r i u s of M e t z r e c o r d e d a t t r i b u t i o n s t o H a d r i a n at t h e h e a d a n d t a i l of t h e R o m a n a n t i p h o n e r ( H a n s s e n s , its a u t h e n t i c i t y ( H u c k e , 2 6 1 - 2 ) . E l s e w h e r e t h e n a m e of G r e g o r y w a s p l a i n l y u s e d as a m e a n s o f e s t a b l i s h i n g a u t h o r i t y o f t h e c h a n t . P o p e L e o I V ( 8 4 7 - 5 5 ) , w r i t i n g to A b b o t H o n o r a t u s o f the (?) i i i . 14; c i t e d H u c k e 1955, ' E n t s t e h u n g ' , 261 n . 2 1 ) , b u t it is c l e a r t h a t he a n d o t h e r s of t h a t t i m e h a d d o u b t s o v e r

F a r f a , u s e s t h e w o r d s ' G r e g o r i a n a c a r m i n a ' , p e r h a p s f o r t h e first t i m e , w h i l e o r d e r i n g t h e c h a n t t o be s u n g a n d t h e R o m a n l i t u r g y o b s e r v e d o n p a i n of e x c o m m u n i c a t i o n (Hucke, 264). pontificalis (Paris, B i b l i o t h e q u e N a t i o n a l e , lat. 2 4 0 0 , L i m o g e s , e l e v e n t h document w h i c h attributes the c o m p o s i t i o n of I n a s h o r t l i f e of H a d r i a n I I w h i c h A d h e m a r of C h a b a n n e s a p p e n d e d to a s u m m a r y of the Liber c e n t u r y ; e d . D u c h e s n e ; p p . c l x x x i i - i v ) , the v e r s e p r o l o g u e is a t t r i b u t e d t o H a d r i a n I ( 7 7 2 - 9 5 ) . T h i s is t h e r e m a r k a b l e France t r o p e s t o G r e g o r y I, s e q u e n c e s a n d m o r e t r o p e s to H a d r i a n I , t h e i r i n t r o d u c t i o n i n to H a d r i a n I a n d C h a r l e m a g n e , 1886, a n d t h e i r r e v i v i f i c a t i o n after a p e r i o d of 38). A l l that was best i n m e d i e v a l chant n e g l i g e n c e to H a d r i a n I I ( G a u t i e r t h e r e f o r e w e n t b a c k to G r e g o r y .

(x)

Gregory

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the Lenten

Communions

S o m e p e c u l i a r i t i e s i n t h e c h o i c e a n d t h e t r a n s m i s s i o n of c o m m u n i o n a n t i p h o n s i n t h e L e n t e n p e r i o d h a v e s u g g e s t e d t h a t d e v e l o p m e n t s as o l d as G r e g o r y are at i s s u e . Cagin and i n P a l M u s 3, Hesbert 1934, 198 and /IMS, p. xlviii, several articles (See by to

C a l l e w a e r t r e p r i n t e d 1940, e s p e c i a l l y C a l l e w a e r t 1939, H e s b e r t i n P a l M u s 14, p . 2 2 5 , finally H u c k e a n d H u g l o , ' C o m m u n i o n ' , NG). T h e m a t t e r is n o t s u s c e p t i b l e

i n c o n t r o v e r t i b l e p r o o f a n d is o u t l i n e d briefly here o n l y i n order to d e m o n s t r a t e the sort of a r g u m e n t s w h i c h have been a d d u c e d i n order to reconstruct a n early chapter i n chant history. The m a s s e s f o r t h e T h u r s d a y s o f L e n t w e r e a r r a n g e d d u r i n g t h e p o n t i f i c a t e of II (715-31). were W e m a y assume i n existence that t h e c h a n t s before then. for the other all the twenty-six twenty-six already Nearly Gregory weekdays

c o m m u n i o n s f o r those days have texts taken f r o m P s s . 1 to 26, i n n u m e r i c a l o r d e r , whereas the a d d e d T h u r s d a y c o m m u n i o n s fall o u t s i d e this s c h e m e . Y e t t h e n u m e r i c a l arrangement is i t s e l f p r o b a b l y n o t a n c i e n t , s i n c e t h e o t h e r c h a n t s f o r t h o s e d a y s a r e not o r d e r e d n u m e r i c a l l y . T h e n u m e r i c a l l y ordered c o m m u n i o n s nevertheless d i s p l a y a s t a b l e m u s i c a l t r a n s m i s s i o n w h e n finally c o d i f i e d i n t h e late n i n t h c e n t u r y . I n a m o n g t h e n u m e r i c a l l y o r d e r e d p i e c e s t h e r e a r e , h o w e v e r , five n o n - p s a l m o d i c c o m m u n i o n s , r e p l a c e m e n t s , as i t s e e m s , f o r c o m m u n i o n s d r a w n f r o m P s s . 12, 1 6 - 1 7 , 20-1. Videns Three T h e s e a r e Oportet dominus. o f t h e five ' o d d ' c o m m u n i o n s q u o t e f r o m t h e g o s p e l o f t h e m a s s . C a l l e w a e r t a r g u e d t h a t o n e of t h e t h r e e , Videns dominus, fecit Morin te, Qui biberit, Nemo te condemnavit, Lutum fecit and

t h o u g h t t h a t t h e t h r e e m a s s e s i n q u e s t i o n w e r e o r i g i n a l l y m a s s e s f o r t h e s c r u t i n y of catechumens. biberit bore the a n d Qui s t y l i s t i c h a l l m a r k s o f a n a u t h e n t i c t e x t b y G r e g o r y , a n d t h a t Lutum

m i g h t a l s o b e h i s . O n t h i s b a s i s , C a l l e w a e r t s u g g e s t e d t h a t it w a s G r e g o r y t h e

G r e a t w h o m i g h t w e l l have been responsible for t h e reorganization of the s c r u t i n y m a s s e s , w h i c h w e r e s h i f t e d f r o m S u n d a y s t o w e e k d a y s b e c a u s e of t h e i r d i m i n i s h i n g importance i n a completely C h r i s t i a n society (Chavasse 1948). M u s i c o l o g i s t s are inconsistc l e a r l y n o t t h e o n l y s c h o l a r s eager t o see G r e g o r y as a n a c t i v e r e f o r m e r o f t h e l i t u r g y . T h e five ' o d d ' c o m m u n i o n s a p p e a r i n m u s i c a l s o u r c e s w i t h c o n s i d e r a b l e e n c y , a m o u n t i n g t o d i f f e r e n t m e l o d i e s . W h a t are t h o u g h t t o b e t h e o r i g i n a l m e l o d i e s , t h e m e l o d i e s w h i c h a p p e a r i n t h e earliest s o u r c e s , a r e s i m p l e a n d s y l l a b i c , d i s t i n c t l y p l a i n e r i n m u s i c a l s t y l e t h a n m o s t c o m m u n i o n s . T h e o t h e r m e l o d i e s f o r t h e five w h i c h appear i n d i v e r g e n t sources seem t o be attempts to p r o v i d e m o r e ' c o m m u n i o n - l i k e ' substitutes. character? B u t w h y s h o u l d t h e five c o m m u n i o n s Does it m e a n that have such a special redactor musical w h owas the sixth- or seventh-century

responsible f o r p u t t i n g t h e m into place b o r r o w e d t h e m f r o m another context, o n e w h e r e t h e i r m u s i c a l s t y l e w a s t h e a p p r o p r i a t e o n e ? T h a t w o u l d i m p l y t h a t b o t h sets o f m e l o d i e s were already i n existence w h e n the s c r u t i n y masses were r e o r g a n i z e d . T h e s e q u e n c e of e v e n t s m i g h t h a v e b e e n as f o l l o w s : 1. T h e a n c i e n t melodies. 2 . T h e c o m m u n i o n s f o r t h e w e e k d a y s of L e n t h a v e m o r e o r n a t e m e l o d i e s , o f t h e t y p e m o r e r e c e n t l y i n f a s h i o n , w h e n t h e masses f o r t h o s e d a y s ( a l w a y s o m i t t i n g t h e T h u r s d a y s , however) were c o m p i l e d . 3. T h e o l d s c r u t i n y masses are p l a c e d (by G r e g o r y ? ) into new w e e k d a y p o s i t i o n s , s t i l l r e t a i n i n g t h e i r a n c i e n t m e l o d i e s , d i s p l a c i n g w h a t are a c t u a l l y n e w e r a n t i p h o n s . scrutiny masses have o l d and simple communion antiphon

A l l this assumes,

of c o u r s e ,

that we still have s o m e t h i n g v e r y like the o r i g i n a l

m e l o d i e s i n o u r n i n t h - c e n t u r y m u s i c a l s o u r c e s . A s I see i t , G r e g o r y c o u l d n o t h a v e b e e n r e s p o n s i b l e b o t h f o r the l i t u r g i c a l c h a n g e a n d f o r c o m p o s i n g t e x t a n d m e l o d y of the ' o d d ' c o m m u n i o n s . C a l l e w a e r t a l s o s u g g e s t e d , a g a i n o n g r o u n d s o f the s t y l e a n d c o n t e n t of t h e i r t e x t s , that Gregory was the author of antiphons of Sexagesima and Quinquagesima S u n d a y s . T h e i r m u s i c has n o t , so f a r as I k n o w , b e e n i n v e s t i g a t e d w i t h t h i s p o s s i b i l i t y in m i n d .

(xi)

Conclusions

It is n o d o u b t s p i r i t u a l l y a n d m o r a l l y r e a s s u r i n g , f o r us as f o r t h e C a r o l i n g i a n s , to b e a b l e to a t t a c h Gregorian. t h e n a m e of a c a n o n i z e d a u t h o r to t h e b o d y o f c h a n t w e k n o w as the available first evidence does not permit this. Apart from the But

i n s u f f i c i e n t d o c u m e n t a r y t r a d i t i o n , l i t u r g i c a l a n d m u s i c a l a n a l y s i s has f o u n d n o s t r o n g evidence that the melodies Gregory. r e c o r d e d i n t h e n i n t h c e n t u r y c o u l d be as o l d as same texts w e r e s u n g w i t h the i n the same liturgical N o d o u b t m a n y of t h e

a s s i g n m e n t i n G r e g o r y ' s t i m e as l a t e r , b u t w e m u s t r e c k o n w i t h b o t h m o r e s u b t l e a n d more radical changes i n singing practice context, interim, changes w h i c h call into q u e s t i o n a n y n o t i o n of ' s a m e n e s s ' b e t w e e n the s i x t h a n d t h e n i n t h c e n t u r y . I n t h i s t h e v e r y i d e a of a ' c o m p o s e r ' of c h a n t is a n a c h r o n i s t i c , a n d w e s h o u l d d o repertory. b e t t e r to u n c o u p l e G r e g o r y as a p e r s o n f r o m t h e c h a n t

H i s n a m e r e t a i n s its u s e f u l n e s s , i n the sense t h a t ' G r e g o r i a n ' c h a n t is n e i t h e r of o n e s p e c i f i c t i m e , n o r w h o l l y R o m a n , n o r w h o l l y a n y t h i n g e l s e . A l e g e n d a r y l a b e l is as g o o d as a n y .

T h e Carolingian Century
VII.1. The events w h i c h l e d to t h e I N T R O D U C T I O N of t h e chant repertory we know of t h e as

establishment

' G r e g o r i a n ' are

inextricably bound up with

political developments

eighth

c e n t u r y , p r i n c i p a l l y t h e e s t a b l i s h m e n t of a s t r o n g a n d e x t e n s i v e F r a n k i s h k i n g d o m , w h i c h b y t h e e n d of t h e r e i g n o f C h a r l e m a g n e ( 7 6 8 - 8 1 4 ) c o v e r e d a n area r o u g h l y c o r r e s p o n d i n g t o t h a t of m o d e r n F r a n c e , W e s t G e r m a n y , a n d n o r t h a n d c e n t r a l I t a l y . T h i s is t h e ' F r a n c i a ' , t h e e m p i r e of t h e F r a n k s , r e f e r r e d to i n t h i s b o o k . C h a r l e m a g n e was deeply concerned according to Roman that the church as far as i n his d o m a i n s h o u l d f o l l o w the possible, which liturgy the practice, naturally included

p l a i n c h a n t of t h e l i t u r g y . T h e n e x t s e c t i o n r e c o u n t s s o m e of t h e stages i n t h e e s t a b l i s h m e n t b y t h e F r a n k s of a R o m a n c h a n t r e p e r t o r y i n t h e i r e m p i r e . S i n c e t h e n e e d s of t h e F r a n k i s h c h u r c h d i d not c o r r e s p o n d i n every detail w i t h R o m a n practice, adjustments were necessary. But t h e F r a n k s a l s o e n r i c h e d t h e m u s i c of t h e l i t u r g y i n w a y s w h i c h h a d n o p r e c e d e n t i n R o m a n p r a c t i c e ( V I 1 . 3 ) . A s p e c i a l p a r t i n t h e e s t a b l i s h m e n t of a c o r p u s of l i t u r g i c a l c h a n t i n F r a n c i a w a s p l a y e d b y n o t a t e d m u s i c - b o o k s , w h i c h as far as c a n be s e e n at t h e m o m e n t b e c a m e i n c r e a s i n g l y i m p o r t a n t at t h e e n d of t h e n i n t h c e n t u r y ( t h o u g h s o m e s c h o l a r s w o u l d p l a c e t h i s d e v e l o p m e n t as m u c h as a c e n t u r y e a r l i e r ) . V I 1.4 on the c u l t u r a l a n d h i s t o r i c a l r o l e of t h e earliest renaissance'. notated books. A comments section final

d i s c u s s e s t h e p l a c e of m u s i c i n t h e g e n e r a l c u l t u r a l a w a k e n i n g p o p u l a r l y k n o w n as t h e 'Carolingian

V I 1.2.

T H E E S T A B L I S H M E N T F R A N C I A

O F R O M A N

C H A N T

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Klauser 1933; H u c k e 1954, ' E i n f u h r u n g ' ; Vogel 1960, 1965 'Cultuclle', 1965 ' L i t u r g i q u e ' ; S t a b l e i n i n M M M A 2 ; W a l l a c e - I I a d n l l 1983. R o m e i n t h e e a r l y c e n t u r i e s h a d n e i t h e r t h e d e s i r e n o r the p o w e r to r e g u l a t e d e t a i l s o f l i t u r g i c a l p r a c t i c e i n a l l p a r t s of W e s t e r n E u r o p e . T h e e x a m p l e of G r e g o r y t h e G r e a t shows this clearly: his recommendation that A u g u s t i n e use whatever liturgical other m a t e r i a l s he f o u n d g o o d , a n d h i s c o r r e s p o n d e n c e in liturgical matters w i t h

p r e l a t e s , w h e r e he is at p a i n s to e x p l a i n a n d d e f e n d w h a t he has d o n e b u t d o e s n o t seek t o i m p o s e it o n o t h e r s (see a b o v e , VI.6). N o r d i d t h e o t h e r c h u r c h e s of W e s t e r n E u r o p e e x p e c t R o m e to b e a b l e to l a y d o w n a p a t t e r n of w o r s h i p , o r t r y to c o p y R o m a n u s e . T h e i m p o r t of t h e v a r i o u s c o u n c i l s w h i c h l a i d d o w n l i t u r g i c a l p r e s c r i p t i o n s is n o t t h a t R o m a n p r a c t i c e s h a l l b e f o l l o w e d b u t t h a t t h e l i t u r g y s h a l l be p e r f o r m e d i n a w a y that is s e e m l y a n d p r o p e r . The p r e s c r i p t i o n s n a t u r a l l y t o o k i n t o a c c o u n t l o c a l t r a d i t i o n s a n d c o n d i t i o n s . T h i s is w h a t w e f i n d at t h e C o u n c i l of A g d e ( 5 0 6 ) , w h e r e b i s h o p s f r o m t h e w h o l e of s o u t h - w e s t F r a n c e a n d S p a i n g a t h e r e d , o r t h e F o u r t h C o u n c i l of T o l e d o ( 6 3 3 ) , h e l d u n d e r t h e p r e s i d e n c y of S t I s i d o r e , w h i c h was a t t e n d e d b y n o less t h a n s i x t y - t w o b i s h o p s f r o m S p a i n a n d S e p t i m a n i a ( t h e i r l i t u r g i c a l p r e s c r i p t i o n s are s u m m a r i z e d b y T a f t 147-8 and 159-60 respectively). 1985,

T h e c h a n g e i n o u t l o o k w h i c h l e d to w h o l e s a l e a d o p t i o n of R o m a n p r a c t i c e m a y w e l l b e d u e t o t h e i n f l u e n c e of t h e A n g l o - S a x o n m i s s i o n a r i e s w h o i n t h e late s e v e n t h a n d early eighth centuries brought new G e r m a n territories into the Christian fold: in W i l l i b r o r d i n F r i s i a f r o m 690, a n d W y n f r i t h , w h o t o o k t h e n a m e of B o n i f a c e ,

c e n t r a l G e r m a n y a n d B a v a r i a i n t h e f i r s t h a l f of t h e e i g h t h c e n t u r y . A f t e r o r g a n i z i n g the G e r m a n c h u r c h , B o n i f a c e t u r n e d his attention to the F r a n k i s h r e f o r m e d t h r o u g h a series of s y n o d s i n t h e 7 4 0 s . B o n i f a c e h a d b e e n c a l l e d to R o m e i n 7 2 2 , where G r e g o r y II ( 7 1 5 - 3 1 ) gave his b l e s s i n g to h i s w o r k . T o A n g l o - S a x o n s s u c h as B o n i f a c e a n d h i s d i s c i p l e s , s e v e r a l of w h o m b e c a m e b i s h o p s i n G e r m a n y , t h e t r a d i t i o n a l c o n n e c t i o n of t h e i r c h u r c h w i t h R o m e w a s v i t a l . T h e i r w o r k w a s a c c o m p l i s h e d i n a s p i r i t of o b e d i e n c e t o a n d i n frequent consultation with R o m e . N e w l y founded monasteries i n G e r m a n y followed the Benedictine rule. T h e F r a n k i s h c h u r c h u n d e r the n e w l y f o u n d e d C a r o l i n g i a n d y n a s t y of P i p p i n ( 7 5 1 - 6 8 ) w a s c o n s e q u e n t l y far m o r e R o m e - o r i e n t e d t h a n p r e v i o u s l y . I n 7 5 0 III Pippin congregation,

h a d sent t h e A n g l o - S a x o n B u r g h a r d of E i c h s t a t t a n d t h e F r a n k F u l r a d of S a i n t - D e n i s to R o m e to g a i n a p p r o v a l , i n e f f e c t , f o r t h e d e p o s i t i o n of t h e M e r o v i n g i a n k i n g a n d h i s o w n s u c c e s s i o n . I n 7 5 4 P o p e S t e p h e n I I ( 7 5 2 - 7 ) v i s i t e d P i p p i n t o seek m i l i t a r y a i d a g a i n s t t h e L o m b a r d s , a n d P i p p i n w a s c o n s e c r a t e d k i n g at S a i n t - D e n i s . There is n o n e e d h e r e to r e c a p i t u l a t e s u b s e q u e n t political interchange between F r a n c i a a n d R o m e . It c o n s t i t u t e s , h o w e v e r , t h e e s s e n t i a l b a c k g r o u n d to t h e a d o p t i o n of the R o m a n l i t u r g y i n F r a n c i a . T h e decisions of the n u m e r o u s F r a n k i s h c h u r c h councils of the mid-eighth century are concerned not with liturgy but with f u n d a m e n t a l c h u r c h d i s c i p l i n e , so w e c a n n o t t r a c e t h e d e t a i l s of l i t u r g i c a l i n t e r c h a n g e v e r y c l e a r l y , b u t its pace u n q u e s t i o n a b l y b e g a n to q u i c k e n . I n 7 6 0 P i p p i n ' s b r o t h e r , B i s h o p R e m i g i u s ( o r R e m e d i u s ) of R o u e n , w e n t to R o m e t o ask t h a t a R o m a n t e a c h e r o f c h a n t be a l l o w e d t o c o m e n o r t h , w h i l e m o n k s f r o m R o u e n l e a r n t t h e c h a n t i n R o m e u n d e r G e o r g e , t h e p r i m u s s c h o l a e . S i m e o n , s e c u n d u s of t h e R o m a n s c h o l a c a n t o r u m , w a s s e n t b y P a u l I ( 7 5 7 - 6 8 ) to t e a c h R e m i g i u s ' c l e r i c s . A f t e r a w h i l e G e o r g e d i e d , a n d P a u l h a d to r e c a l l S i m e o n to s u c c e e d h i m , w h i l e a s s u r i n g R e m i g i u s t h a t t h e R o u e n s i n g e r s i n R o m e w o u l d be b r o u g h t t o p e r f e c t i o n u n d e r S i m e o n ' s i n s t r u c t i o n .

A l r e a d y t h e r e c o r d s of t h e C o u n c i l of C l o v e s h o e i n E n g l a n d ( 7 4 7 ) s p e a k o f a c h a n t b o o k sent f r o m R o m e ( V I . 6 . v ) . P a u l I sent not o n l y S i m e o n b u t also b o o k s to R o u e n : an 'antiphonale', a 'responsale' and b o o k s o n o r t h o g r a p h y a n d the seven l i b e r a l arts, all i n G r e e k . ( V o g e l 1960, 2 4 2 , M M M A 2, 1 4 8 * ) . T h i s e v i d e n c e t h a t b o o k s w i t h c h a n t texts occasionally f o u n d their way n o r t h f r o m R o m e is v e r y i m p o r t a n t . (I have a s s u m e d t h a t at t h i s t i m e t h e y w o u l d n o t be n o t a t e d . ) B u t o n t h e w h o l e w e are m u c h better i n f o r m e d about the O r d i n e s R o m a n i a n d sacramentaries w h i c h were prepared f r o m o r u n d e r t h e i n f l u e n c e of R o m a n m o d e l s t h a n a b o u t R o m a n o r R o m a n i z e d b o o k s w i t h c h a n t t e x t s , f o r w e h a v e n o c h a n t - b o o k s of t h e e i g h t h c e n t u r y w h i c h w o u l d r e v e a l t h e state of t h e r e p e r t o r y b e f o r e a n d d u r i n g t h e w a v e of R o m a n i n f l u e n c e i n t h e s e c o n d h a l f of t h e c e n t u r y . It w a s M e t z , r a t h e r t h a n R o u e n , w h i c h b e c a m e r e n o w n e d as a c e n t r e of R o m a n c h a n t i n F r a n c i a . C h r o d e g a n g of M e t z ( d . 7 6 6 ) , t h e l e a d e r of t h e F r a n k i s h c h u r c h a f t e r B o n i f a c e w a s k i l l e d o n a m i s s i o n to F r i s i a i n 7 5 4 , c o m p o s e d a r u l e f o r t h e c a n o n s of h i s c i t y w h i c h b o r r o w s h e a v i l y f r o m B e n e d i c t i n e p r a c t i c e a n d r e f e r s f r e q u e n t l y to R o m a n c u s t o m s ( M a n s i x i v . 3 1 3 ; P L 8 9 . 1 0 5 9 - 1 1 2 0 ) . It m a r k s a c r u c i a l s t a g e i n the ' m o n a s t i c i z a t i o n ' of t h e o f f i c e f o r t h e s e c u l a r c l e r g y . T h e l i f e of C h r o d e g a n g b y P a u l W a r n e f r i d ( d . 799) a t t r i b u t e s to h i m t h e i n t r o d u c t i o n of t h e ' c a n t i l e n a R o m a n a ' i n rerum Sangatte nsium, etc., 2 6 0 - 7 0 , P L 95. 720; M e t z ( M G H ( S c r i p t o r e s ) Scriptores celebrated Pepin 1960,

see B u c h n e r 1 9 2 7 ) . E v e n a s t a t i o n a l l i t u r g y of t h e p a p a l t y p e , w h e r e b y t h e b i s h o p mass i n different churches on different days, was introduced i n M e t z Andrieu prime 1930). mover What is then repeatedly had begun mentioned became in the numerous (Vogel of is his use as the ( K l a u s e r 1930,

d o c u m e n t s i s s u e d u n d e r C h a r l e m a g n e w h i c h c o n c e r n t h e s i n g i n g of c h a n t 230-1, time 265-6). and his father The in the Charlemagne's repeated governance. time i n j u n c t i o n to s i n g a c c o r d i n g to capitularies Roman

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i n s t r u c t i o n s . T h e e x a m i n a t i o n of p r i e s t s i n c l u d e d t h e q u e s t i o n as t o w h e t h e r t h e y s a n g t h e ' c a n t u s R o m a n u s ' i n t h e N i g h t O f f i c e a n d at m a s s ( M G H ( L e g e s ) re gum Franconim, Charlemagne's Capitularia been i . 2 3 5 ; see also 110 f o r t h e r e q u i r e d a d h e r e n c e to R o m a n l i t u r g y ) . p r o m u l g a t i o n of a u n i f o r m R o m a n l i t u r g y i n F r a n c i a h a s

a t t r i b u t e d to p o l i t i c a l m o t i v e s , as a m e a n s of b u t t r e s s i n g t h e p o l i t i c a l u n i t y i m p o s e d i n m a n y r e g i o n s b y f o r c e of F r a n k i s h a r m s . T h i s v i e w is t o o c y n i c a l . A t the b e g i n n i n g of the famous 'Admonitio and g e n e r a l i s ' of 7 8 9 , reform, 2). he Charlemagne's recollects the extensive w o r k of re gum the proposals Josiah for in
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r e f o r m i n g t h e w o r s h i p of I s r a e l (2 K g s . 2 2 - 3 ; c i t e d b y M c K i t t e r i c k 1977, of his people, The observances suppresses

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C h a r l e m a g n e ' s i n t e r e s t c o u l d also take a p e r s o n a l t u r n . If N o t k e r ' s r e p o r t is to be b e l i e v e d , he h i m s e l f l i s t e n e d c a r e f u l l y i n o r d e r to h e a r if t h e s i n g i n g w a s c o r r e c t . H i s b i o g r a p h e r E i n h a r d s a y s he a t t e n d e d c h u r c h f o u r t i m e s a d a y , a n d c o u l d h a v e i n t o n e d the p s a l m s a n d lessons p u b l i c l y h a d he w i s h e d to d o s o . N o r was he without e x p e r i e n c e of t h e R o m a n l i t u r g y , b e i n g i n R o m e f o u r t i m e s i n a l l , i n c l u d i n g t h e E a s t e r

of 7 8 7 ,

w h i c h he s p e n t w i t h H a d r i a n I, a n d C h r i s t m a s 8 0 0 ,

w h e n he w a s c r o w n e d between of Saint-

emperor. If t h e s e c o n d h a l f o f t h e e i g h t h c e n t u r y s a w t h e m o s t v i g o r o u s c o n t a c t s 820 H e l i s a c h a r , t h e c h a n c e l l o r of L o u i s the P i o u s ( 8 1 4 - 4 0 ) a n d a b b o t R o m a n a n d F r a n k i s h s i n g e r s , t h e r e s e e m s to h a v e b e e n a d e c l i n e i n t h e n i n t h . A r o u n d R i q u i e r a n d of S a i n t - A u b i n at A n g e r s , w r o t e to B i s h o p N i d i b r i u s of N a r b o n n e i n t e r m s w h i c h s u g g e s t t h a t t h e R o m a n w a y of s i n g i n g r e s p o n s o r i e s w a s n o l o n g e r k n o w n (see Huglo 1979, 'Remaniements'). At first M e t z p r o v i d e d an alternative. The one C a p i t u l a r y of t h e m i s s i d o m i n i c i ( C h a r l e m a g n e ' s e m i s s a r i e s w h o c a r r i e d o u t c i v i l a n d e c c l e s i a s t i c a l v i s i t a t i o n s ) at T h i o n v i l l e i n 805 says t h a t f o r a k n o w l e d g e of c h a n t m u s t g o to M e t z ( M G H Capitularia re gum Francorum, i . 121). A r c h b i s h o p L e i d r a d Karolini

of L y o n ( 7 9 9 - 8 1 4 ) r e f o r m e d t h e l i t u r g y of L y o n a c c o r d i n g t o t h e use of t h e i m p e r i a l p a l a c e i t s e l f , w i t h t h e h e l p of a c l e r i c of M e t z ( M G H ( E p i s t o l a e ) Epistolae aevi, i i . 5 4 2 , H u c k e 1954, ' E i n f u h r u n g ' , 185, M M A 2 , 149*).

T h e f a m o u s s t o r y of t h e R o m a n a n d F r a n k i s h c a n t o r s a l s o g i v e s M e t z a p l a c e i n c h a n t h i s t o r y . T h e a f f a i r , seen t h r o u g h R o m a n eyes, is t o l d b y J o h n H y m m o n i d e s ( P L 7 5 . 9 1 , H u c k e 1954, ' E i n f u h r u n g ' , 180, M M M A 2 1 4 4 * ) . H e says t h a t C h a r l e m a g n e n o t i c e d the lack of h a r m o n y b e t w e e n R o m a n a n d F r a n k i s h s i n g i n g a n d sent t w o clerics to H a d r i a n t o l e a r n R o m a n c h a n t ; t h e y c a m e b a c k to M e t z a n d t h r o u g h t h e m t h e s i n g i n g i n a l l G a u l w a s c o r r e c t e d . A f t e r t h e y d i e d t h e s i t u a t i o n d e t e r i o r a t e d , so H a d r i a n s e n t t w o of h i s s i n g e r s to G a u l . T h e s i n g i n g i n M e t z h a d d e t e r i o r a t e d m u c h less t h a n e l s e w h e r e . T h e l i f e of C h a r l e m a g n e w r i t t e n b y N o t k e r B a l b u l u s of S t G a l l g i v e s t h e F r a n k i s h s i d e of t h e s t o r y ( H u c k e 1954, ' E i n f u h r u n g ' , 1 7 8 - 9 ) . H e r e t h e a s t o n i s h i n g a c c u s a t i o n is m a d e t h a t t w e l v e R o m a n s i n g e r s , h a v i n g b e e n s e n t to F r a n c i a b y P o p e S t e p h e n ( a c c o r d i n g to N o t k e r ; it w o u l d a c t u a l l y h a v e b e e n S t e p h e n III) at II Charlemagne's

r e q u e s t , set o u t to c o n f u s e t h e F r a n k s b y d e l i b e r a t e l y s i n g i n g w r o n g l y , b e i n g e n v i o u s of t h e g l o r y of t h e F r a n k s . T o c i r c u m v e n t t h i s a n i m o s i t y , a n a p o l o g e t i c P o p e L e o , S t e p h e n ' s s u c c e s s o r (it w o u l d a c t u a l l y h a v e b e e n H a d r i a n I ) , s u g g e s t e d t h a t s i n g e r s be s e n t d i s g u i s e d to l i s t e n t o t h e s e r v i c e s s u n g p r o p e r l y i n R o m e i t s e l f . T h e y c a m e b a c k to M e t z a n d t h e r o y a l p a l a c e at A a c h e n r e s p e c t i v e l y . T h u s t h e ' e c c l e s i a s t i c a c a n t i l e n a ' is c a l l e d ' M e s s i n e ' , of M e t z . E v e n if d e l i b e r a t e m i s i n f o r m a t i o n b e r u l e d o u t , t h e e s t a b l i s h m e n t o f R o m a n c h a n t i n F r a n c i a was a h a z a r d o u s u n d e r t a k i n g , r e l y i n g p r i n c i p a l l y o n h u m a n m e m o r y for the l e a r n i n g a n d p r o m u l g a t i o n of a vast r e p e r t o r y of m u s i c . T h e p r o c e s s s e e m s to h a v e lasted r o u g h l y half a c e n t u r y , c o i n c i d i n g w i t h the reigns of P e p i n a n d C h a r l e m a g n e . The c e l e b r a t i o n of m a s s w a s a l t e r e d f r o m w h a t e v e r G a l l i c a n f o r m s w e r e u s e d i n F r a n c i a t o c o i n c i d e w i t h t h e R o m a n l i t u r g y , a n d t h e R o m a n c h a n t s of m a s s h a d to be l e a r n e d . W e c o u l d i m a g i n e that the A n g l o - S a x o n c h u r c h m e n w o u l d have c o n t r i b u t e d t h e i r k n o w l e d g e of R o m a n c h a n t , b u t d i r e c t c o n t a c t w i t h R o m e i t s e l f w a s e s s e n t i a l . A first g e n e r a t i o n of s i n g e r s l e a r n e d i n R o m e o r f r o m R o m a n s , t h e n t a u g h t t h e i r art to t h e n e x t g e n e r a t i o n . T h e c e l e b r a t i o n of t h e o f f i c e h o u r s p r e s u m a b l y f o l l o w e d a s i m i l a r course; perhaps R o m a n / B e n e d i c t i n e practice was established earlier a n d m o r e firmly, at least i n G e r m a n l a n d s , t h r o u g h t h e w o r k of B o n i f a c e a n d h i s f e l l o w A n g l o - S a x o n s .

I n t h e a b s e n c e of A n g l o - S a x o n c h a n t - b o o k s t h i s r e m a i n s s p e c u l a t i o n , b u t t h e p r e s t i g e of A n g l o - S a x o n l e a r n i n g a n d l i t u r g i c a l p r a c t i c e c a n n o t h a v e b e e n d i m i n i s h e d b y t h e p r e s e n c e at t h e i m p e r i a l p a l a c e of A l c u i n of Y o r k as C h a r l e m a g n e ' s c h i e f l i t u r g i c a l adviser.

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R E P E R T O R Y N o b o o k w i t h c h a n t t e x t s s e n t f r o m R o m e to F r a n c i a has s u r v i v e d , n o r a n y t h i n g that c a n be c a l l e d a d i r e c t c o p y of o n e . T h e r e s u l t of t h e p r o c e s s of e s t a b l i s h m e n t of R o m a n chant i n F r a n c i a can nevertheless be d i s c e r n e d i n the earliest s u r v i v i n g F r a n k i s h c h a n t - b o o k s , t h e u n n o t a t e d g r a d u a l s e d i t e d b y H e s b e r t i n / I M S . A n d a n i d e a of h o w t h e y m a y h a v e d i f f e r e d f r o m R o m a n use c a n b e g a i n e d i f w e c o m p a r e t h e m w i t h t h e e a r l i e s t s u r v i v i n g b o o k s f r o m R o m e i t s e l f , t h e O l d R o m a n c h a n t - b o o k s of t h e e l e v e n t h c e n t u r y . W e c a n c o m p a r e , t h a t i s , a F r a n k i s h v e r s i o n of t h e R o m a n l i t u r g y w i t h a R o m a n o n e . A l i s t of t h e p r i n c i p a l d i f f e r e n c e s has b e e n d r a w n u p b y H u g l o ( 1 9 5 4 , ' V i e u x - r o m a i n ' , 1 0 8 - 9 ) . S o m e c o n c e r n d e t a i l s of t h e t e x t : o n s o m e o c c a s i o n s t h e t w o v e r s i o n s h a v e q u i t e d i f f e r e n t t e x t s . Q u i t e o f t e n t h i s is a case of s e l e c t i n g a d i f f e r e n t set of m a s s c h a n t s f r o m t h e c o m m o n of s a i n t s f o r a p a r t i c u l a r i n d i v i d u a l s a i n t . differences t o u c h o n the selection of t h e alleluia, a notoriously unstable Other genre. of

W h a t e v e r t h e d a t e w h e n t h e s e d i f f e r e n c e s of p r a c t i c e a r o s e , it is c l e a r f r o m t h e h i s t o r y of t h e v a r i o u s R o m a n a n d F r a n k i s h s a c r a m e n t a r y types that a c e r t a i n a m o u n t a c c o m m o d a t i o n b e t w e e n d i f f e r e n t v e r s i o n s of t h e c h a n t r e p e r t o r y m u s t h a v e g o n e o n . W e c a n get a n i d e a of w h a t w a s h a p p e n i n g also t h r o u g h t h e w o r k of A m a l a r i u s of M e t z (see IX.2). chant cannot T h e n i n t h c e n t u r y s a w , h o w e v e r , n o t j u s t a c o n s o l i d a t i o n of t h e R o m a n is n o t a l w a y s c l e a r , f o r n o t a t e d s o u r c e s a p p e a r first i n t h e t e n t h c e n t u r y . W e

r e p e r t o r y i n F r a n c i a b u t a l s o v i g o r o u s e n r i c h m e n t . T h e c h r o n o l o g y of t h i s e x p a n s i o n a l w a y s b e s u r e w h e t h e r w e are d e a l i n g w i t h r e l a t i v e l y n e w i t e m s , o r c o m p o s i t i o n s of, s a y , t h e s e c o n d C a r o l i n g i a n r e n a i s s a n c e of t h e t i m e of C h a r l e s t h e B a l d ( k i n g 8 4 0 - 7 7 , e m p e r o r 8 7 5 - 7 ) , o r of C h a r l e m a g n e ' s t i m e , o r p e r h a p s e v e n r e l i c s of o l d e r n o n R o m a n p r a c t i c e w h i c h t h e F r a n k s w e r e u n w i l l i n g to r e l i n q u i s h . T h e m a i n areas of e x p a n s i o n w e r e t h e f o l l o w i n g . I g i v e a r e f e r e n c e t o t h e c h a p t e r e a r l i e r i n t h i s b o o k w h e r e e a c h g e n r e is d i s c u s s e d i n m o r e d e t a i l . 1. W h e r e a s t h e r e p e r t o r y of i n t r o i t s , g r a d u a l s , a n d c o m m u n i o n s a p p e a r s to h a v e r e m a i n e d relatively stable after the C a r o l i n g i a n settlement, t h e n u m b e r of a l l e l u i a s i n c r e a s e d d r a m a t i c a l l y ( 1 1 . 1 4 ) . T h e n u m b e r of f r e q u e n t l y s u n g a l l e l u i a m e l o d i e s i n the O l d R o m a n sources ( o n l y three c o m m o n ones) a n d M i l a n (one!) m a y indicate h o w m a n y t h e F r a n k s are l i k e l y t o h a v e k n o w n f r o m t h e i r R o m a n t e a c h e r s . T h e r e p e r t o r y of m e l o d i e s b y t h e e n d o f t h e n i n t h c e n t u r y w a s a l r e a d y a b o u t s i x t y ( m a n y u s e d f o r s e v e r a l d i f f e r e n t t e x t s ) a n d c o n t i n u e d to e x p a n d r a p i d l y . J u s t as d r a m a t i c i n its w a y a l t h o u g h t h e o p p o r t u n i t i e s f o r s i n g i n g it w e r e m o r e

l i m i t e d w a s t h e i n c r e a s e i n t h e n u m b e r of t r a c t s : f r o m t w e n t y - o n e i n t h e s o u r c e s t o t w i c e t h a t n u m b e r i n t h e a v e r a g e of t h e t w e l f t h t o t h i r t e e n t h S o m e p o s s i b l e i n s t a n c e s of F r a n k i s h e x p a n s i o n c a n a c t u a l l y b e s e e n i n t h e Easter

earliest earliest

centuries.

s o u r c e s . T h e O l d R o m a n c h a n t - b o o k s h a v e G r e g o r i a n m e l o d i e s f o r t h e t r a c t s of t h e V i g i l , w h i c h s h o u l d m e a n that they w e r e a d o p t e d f r o m F r a n k i s h p r a c t i c e ; me f o r G o o d F r i d a y is i n n e i t h e r Domine a n c i e n t l y n o t r a c t s w e r e s u n g h e r e . T h e t r a c t Eripe

t h e O l d R o m a n n o r a l l o f t h e e a r l i e s t F r a n k i s h s o u r c e s , a n d w a s s t i l l r e f e r r e d to as ' n e w ' i n t h e t e n t h c e n t u r y (see H u c k e i n H e r m a n n S c h m i d t 1 9 5 6 - 7 , 9 3 2 ) . non secundum, choice l a t e c o m e r to the r e p e r t o r y . The of o f f e r t o r y v e r s e s w a s also n o t Gregorian repertory w h i c h fixed at t h e t i m e of t h e Frankish settlement. offertories 2. N o t o n l y t h i s , r e c e n t s t u d i e s h a v e r e v e a l e d t h e e x i s t e n c e of n o n - R o m a n i n the m a y have come f r o m G a l l i c a n use and especially L e v y 1984). Whatever the t h e t r a c t f o r M o n d a y , W e d n e s d a y , a n d F r i d a y i n L e n t , is also a

( B a r o f f i o a n d S t e i n e r , ' O f f e r t o r y ' , NG,

T h e o r i g i n of t h e s e q u e n c e s w h i c h w e r e s u n g a f t e r t h e a l l e l u i a o n f e a s t - d a y s i n

t h e M i d d l e A g e s is c o n t r o v e r s i a l (see t h e f u l l e r d i s c u s s i o n I I . 2 2 . v i ) .

t r u t h o f t h e m a t t e r , t h e r e p e r t o r y at t h e e n d of t h e n i n t h c e n t u r y p r o b a b l y c o n s i s t e d o f only about thirty widely k n o w n melodies. M o s t new compositions circulated only l o c a l l y . B u t , as w i t h t h e a l l e l u i a , n e w c o m p o s i t i o n s w e r e c o n s t a n t l y b e i n g p r o d u c e d . T h e t o t a l n u m b e r of m e l o d i e s k n o w n f r o m t h e M i d d l e A g e s is v e r y l a r g e , t h e n u m b e r of t e x t s v a s t . 3 . T h e r e p e r t o r y of o r d i n a r y - o f - m a s s c h a n t s k n o w n i n R o m e w a s s m a l l , a n d o n l y a few were w i d e l y k n o w n i n F r a n c i a . R a p i d e x p a n s i o n took place, different pieces b e i n g c o m p o s e d i n d i f f e r e n t places. P a r t i c u l a r l y notable was the c o m p o s i t i o n of t r o p e verses of v a r i o u s k i n d s . ( O n t h e K y r i e r e p e r t o r y a n d its t r o p e s , see 11.17 a n d I I . 2 3 . v i i i , o n t h e G l o r i a 11.18 a n d I I . 2 3 . i i i , v i i , a n d x i , t h e S a n c t u s 11.18 a n d I I . 2 3 . x i , a n d o n t h e A g n u s 11.20 and 11.23.xi.) T h e N i c e n e C r e e d w a s n o t s u n g at m a s s i n R o m e i n C a r o l i n g i a n t i m e s , a n d t h e F r a n k s s a n g it h e r e i n c o n t i n u a t i o n of o l d e r G a l l i c a n practice (11.21.). 4. T h e p r o v i s i o n of c o m p l e m e n t a r y t r o p e v e r s e s , e s p e c i a l l y f o r t h e p r o p e r c h a n t s of (11.23). by the end of the millenium. Its The m a s s , is o n e of t h e m o s t s t r i k i n g d e v e l o p m e n t s of t h e n e w p e r i o d . A g a i n , t h e t i m e a n d p l a c e of o r i g i n of t h e p r a c t i c e are o b s c u r e 5 . T h e f a m o u s Quern century, for it w a s queritis k n o w n all over dialogue may well have been w r i t t e n i n the n i n t h Europe

c o m p o s i t i o n has nevertheless been p l a c e d i n the early t e n t h c e n t u r y b y s o m e . t h e e n d of t h e m i l l e n i u m ( 1 1 . 2 5 ) . 6.

c h i e f c o m p o s i t i o n a l a c t i v i t y i n t h e area of l i t u r g i c a l d r a m a t o o k p l a c e , h o w e v e r , a f t e r It is s t i l l n o t p o s s i b l e to g a i n a n i d e a e a s i l y of t h e a m o u n t of n e w c o m p o s i t i o n f o r CAO

the office h o u r s a c c o m p l i s h e d b y the F r a n k s . T h e sources e d i t e d b y H e s b e r t i n

o f t e n s h o w s t r i k i n g l a c k of u n a n i m i t y i n c h o i c e of c h a n t , a n d t h i s v a r i e t y is m a t c h e d i n t h e t r a n s m i s s i o n of m a n y m u s i c a l i t e m s . It is p r e s u m a b l y t h e r e s u l t o f c o n f l i c t i n g , if a l r e a d y ' R o m a n i z e d ' , p r a c t i c e s d u r i n g t h e e i g h t h c e n t u r y , a n d t h e l a c k of a R o m a n e x a m p l e a g a i n s t w h i c h t o c o n t r o l v a r i a n t s . T h e r e w a s n a t u r a l l y a l o t of w r i t i n g f o r t h e

o f f i c e s of l o c a l p a t r o n s a i n t s .

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f r e q u e n t a d o p t i o n of a m o d a l o r d e r f o r t h e c h a n t s ,

a purely artificial arrangement Crocker

w h i c h reflects the F r a n k i s h interest i n s p e c u l a t i v e m u s i c t h e o r y . (See

f o r a m u s i c a l s t u d y of s u c h ' n u m e r i c a l ' o f f i c e s . ) T h e w r i t i n g of v e r s e t e x t s f o r s u c h o f f i c e s is a n o t h e r C a r o l i n g i a n a n d p o s t - C a r o l i n g i a n d e v e l o p m e n t ( 1 1 . 2 6 ) .

VI1.4.

T H E C O D I F I C A T I O N

OF

P L A I N C H A N T

T r e i t l e r 1984; L e v y 1987 ' A r c h e t y p e ' , 1987 ' O r i g i n ' ; D a v i d H u g h e s 1987. The existence of b o o k s c o n t a i n i n g c h a n t t e x t s has b e e n m e n t i o n e d r e p e a t e d l y i n

p r e v i o u s c h a p t e r s . T h e a c q u i r i n g a n d c o p y i n g of s e r v i c e - b o o k s a n d t h e c o m p i l a t i o n of n e w o n e s w a s u n d o u b t e d l y o n e of t h e c h i e f c o n c e r n s of C h a r l e m a g n e a n d h i s a d v i s e r s . It w a s p a r t of t h e g r e a t p r o g r a m m e of e c c l e s i a s t i c a l a n d e d u c a t i o n a l r e f o r m w h i c h w e n t to m a k e u p t h e ' C a r o l i n g i a n r e n a i s s a n c e ' of l i t e r a c y a n d l e a r n i n g . T h e h i g h p r i e s t H i l k i a h h a d p r o d u c e d a b o o k of l a w f r o m w h i c h K i n g J o s i a h l e a r n e d t h e w a y s of r i g h t e o u s n e s s . T h e w r i t t e n w o r d as a m e a n s of e n s u r i n g t h e r i g h t p e r f o r m a n c e o f t h e l i t u r g y w a s o b v i o u s l y of g r e a t i m p o r t a n c e to t h e Franks. D i d their chant-books c o n t a i n n o t j u s t c h a n t t e x t s b u t m u s i c - w r i t i n g ? D i d t h e v a r i o u s t y p e s of C a r o l i n e m i n u s c u l e s c r i p t , p i o n e e r e d c h i e f l y at C o r b i e i n t h e s e c o n d h a l f of t h e e i g h t h c e n t u r y a n d perfected i n C h a r l e m a g n e ' s palace s c h o o l , have a m u s i c a l parallel or parallels? W h e r e a n d w h e n w a s t h e a t t e m p t first m a d e to notate t h e c h a n t r e p e r t o r y in totol later.) I h a v e d i s c u s s e d a b o v e ( I V . 4 ) t h e e v i d e n c e f o r a n d a g a i n s t t h e n o t a t i n g of c h a n t books in Charlemagne's time. Neither surviving documentary evidence nor contemporary report allows us to state u n e q u i v o c a l l y t h a t complete chant-books were a ex p r e p a r e d f o r C h a r l e m a g n e . W e c o u l d w i s h f o r m o r e m a n u s c r i p t s of c h a n t t e x t s f r o m t h e n i n t h c e n t u r y , b u t t h o s e t h a t h a v e s u r v i v e d are a l l u n n o t a t e d . Argument silentio are never wholly satisfactory, but the silence is in this case o v e r w h e l m i n g . T h e g r a p h i c m a t e r i a l s o u t of w h i c h a n o t a t i o n c o u l d e m e r g e already present: p u n c t u a t i o n and accent-signs almost were (At least f o r t h e m a s s : a l l t h e i n d i c a t i o n s are t h a t t h e o f f i c e c h a n t s w e r e n o t c o d i f i e d u n t i l

f a m i l i a r to a l l w h o h a d r e c e i v e d a n

e d u c a t i o n i n g r a m m a r . F r o m t h e dates of s u r v i v i n g f r a g m e n t s o n e m i g h t e v e n s u g g e s t t h a t a s y s t e m of m u s i c - w r i t i n g w a s i n v e n t e d at t h e p a l a c e s c h o o l i n A a c h e n , o r M e t z , or T o u r s i n A l c u i n ' s t i m e . T h e in musical notation. T h e c h a n t r e p e r t o r y , e v e n after m u s i c a l n o t a t i o n b e c a m e u s u a l i n the t e n t h c e n t u r y , h a d to b e l e a r n e d . T h e n o t a t i o n c o n t r o l s ( i n r e h e a r s a l , t h o u g h p r e s u m a b l y n o t d u r i n g t h e s e r v i c e i t s e l f ) t h e d e t a i l of m e l o d i e s a l r e a d y k n o w n b y h e a r t . T h i s i m p l i e s , of course, t h a t w h e n t h e m e l o d y is w e l l e n o u g h k n o w n , n o t a t i o n is u n n e c e s s a r y for u l t i m a t e p r o o f is l a c k i n g . A n d t h i s s t i l l d o e s not c o n s t i t u t e e v i d e n c e t h a t t h e n e w l y l e a r n e d c h a n t r e p e r t o r y w a s t r a n s m i t t e d as a w h o l e

performance.

N e c e s s i t y b e i n g t h e m o t h e r of i n v e n t i o n , t h e q u e s t i o n i s : w h e n d i d

notation b e c o m e necessarv? T h e o b v i o u s a n s w e r i s : w h e n t h e r e p e r t o r y h a d e x p a n d e d to a p o i n t w h e r e it w a s n o l o n g e r p o s s i b l e to m e m o r i z e it a l l s u c c e s s f u l l y . A n d t h i s p o i n t , I w o u l d s u g g e s t , surviving notated graduals. T h e p r o b l e m lay n o t so m u c h w i t h was r e a c h e d l a t e r r a t h e r t h a n e a r l i e r i n t h e n i n t h c e n t u r y , c l o s e t o t h e d a t e of t h e e a r l i e s t the ' G r e g o r i a n ' r e p e r t o r y of p r o p e r - o f - m a s s c h a n t s as w i t h the s e q u e n c e s , t r o p e s , a n d o r d i n a r y - o f mass m e l o d i e s b e i n g p r o d u c e d i n ever-increasing n u m b e r s a n d i n m u s i c a l styles q u i t e d i f f e r e n t f r o m t h e f o r m u l a i c c h a n t s l e a r n e d f r o m R o m e . T h i s w o u l d also e x p l a i n w h y t h e r e i s n o u n e q u i v o c a l s i g n of a n o t a t i o n a l a r c h e t y p e f r o m w h i c h t h o s e m a n u s c r i p t s w e r e d e s c e n d e d . D i f f e r e n t notational styles h a d already e v o l v e d i n different areas. T h e y w e r e n o w a p p l i e d to t h e n o t a t i n g of a r e p e r t o r y s t i l l w e l l k n o w n b u t i n d a n g e r of e x p a n d i n g o u t of c o n t r o l . T h e r e is a p a r a l l e l w i t h t h e s i t u a t i o n i n t h e e l e v e n t h c e n t u r y , w h e n s t a f f - n o t a t i o n f i r s t b e c a m e w i d e l y u s e d f o r l e a r n i n g ( n o t p e r f o r m i n g ) t h e r e p e r t o r y (see I V . 6 a n d V . 3 ) . T h e e a r l i e s t n o t a t e d c h a n t - b o o k s , of a b o u t 9 0 0 , are f o r t h e m a s s . If t h e d a t e of t h e H a r t k e r A n t i p h o n e r is r e p r e s e n t a t i v e , o f f i c e - b o o k s w e r e n o t n o t a t e d f o r a n o t h e r c e n t u r y . I s it c o i n c i d e n c e that t h e a u t h o r of the Dialogus again it is possible to envisage the expansion of a de music a a n d G u i d o of Once of to the point A r e z z o speak of p i t c h - n o t a t i o n p r i m a r i l y i n c o n j u n c t i o n w i t h the a n t i p h o n e r ? repertory

u n m a n a g e a b i l i t y , n e c e s s i t a t i n g t h e i n v e n t i o n of r a d i c a l l y n e w p e d a g o g i c a l m e t h o d s . I t h e r e f o r e h o l d t o t h e v i e w t h a t m u s i c a l n o t a t i o n , w h i l e it m a y p o s s i b l y h a v e b e e n i n v e n t e d as e a r l y as C h a r l e m a g n e ' s t i m e , w a s n o t u s e d to f a c i l i t a t e l e a r n i n g a n d t e a c h i n g d u r i n g t h e first h e r o i c p h a s e of e s t a b l i s h i n g t h e R o m a n c h a n t r e p e r t o r y i n Francia.

V I 1.5.

T H E P L A C E

O F M U S I C

IN T H E

C A R O L I N G I A N

R E N A I S S A N C E S m i t s van Waesberghe 1952, 1970; M a n f r e d S c h u l e r 1970; H u g l o 1975.

W h i l e I h a v e e x p r e s s e d d o u b t t h a t m u s i c a l n o t a t i o n w a s u s e d b y t h e F r a n k s as a principal means of mastering the Roman chant repertory, they were certainly c o n c e r n e d w i t h a m u s i c a l - t e c h n i c a l m a t t e r of a d i f f e r e n t n a t u r e , n a m e l y , t h e m o d a l s y s t e m . A u r e l i a n of R e o m e , w r i t i n g i n t h e d e c a d e b e f o r e 8 5 0 , s a y s t h a t C h a r l e m a g n e a d d e d f o u r m o d e s t o the u s u a l e i g h t . B y z a n t i n e m u s i c i a n s , w h o h a d p r i d e d t h e m s e l v e s o n t h e i n v e n t i o n of t h e o r i g i n a l e i g h t , t h e r e u p o n a d d e d a n o t h e r f o u r W h i l e C h a r l e m a g n e ' s r o l e is d o u b t l e s s a p i o u s Pans, early as late eighth centuryshows VIII.2). that fiction, the themselves. the earliest s u r v i v i n g t o n a r y system was already

B i b l i o t h e q u e N a t i o n a l e , l a t . 1 3 1 5 9 , f r o m S a i n t - R i q u i e r , p o s s i b l y w r i t t e n as eight-mode

u n d e r s t o o d i n C h a r l e m a g n e ' s t i m e (see I I I . 14). It m a y i n d e e d h a v e c o m e to t h e W e s t f r o m B y z a n t i u m (see

A s I h a v e a r g u e d i n V . 4 , t h e reasons t h e F r a n k s w e r e i n t e r e s t e d i n t h e m o d e s w e r e p a r t l y p r a c t i c a l a n d p a r t l y i n t e l l e c t u a l . If o n e u n d e r s t o o d t h e m o d e of a n a n t i p h o n , a n i n t r o i t , o r a c o m m u n i o n , o n e c o u l d c h o o s e the a p p r o p r i a t e t o n e f o r t h e p s a l m v e r s e ( s ) w h i c h t h e s e c h a n t s a c c o m p a n i e d . T h e s a m e is t r u e f o r o f f i c e r e s p o n s o r i e s . B u t t h e presence of o t h e r m a s s c h a n t s g r a d u a l s , alleluias, a n d o f f e r t o r i e s i n the SaintR i q u i e r t o n a r y ( a n d s o m e later t o n a r i e s ) s u g g e s t s t h a t t h e c l a s s i f i c a t i o n w a s i m p o r t a n t f o r its o w n sake, a l i n k w i t h the c o r p u s of c l a s s i c a l m u s i c t h e o r y w h i c h w a s b e i n g u n e a r t h e d b y the F r a n k s a l o n g w i t h so m u c h of t h e h e r i t a g e of a n t i q u i t y , e v e n t h o u g h it was b y n o m e a n s easy to r e c o n c i l e w i t h t h e R o m a n c h a n t r e p e r t o r y t h e y w e r e t r y i n g to m a s t e r . D e s p i t e t h e p l a c e of m u s i c a m o n g the s e v e n l i b e r a l a r t s , t h e ' s e v e n p i l l a r s o r s t e p s ' of A l c u i n ' s e d u c a t i o n a l p r o g r a m m e ( P L 1 0 1 . 8 5 3 ) , t h e r e is l i t t l e e v i d e n c e of o r i g i n a l t h o u g h t a b o u t m u s i c t h e o r y at C h a r l e m a g n e ' s c o u r t . B e s i d e ' D a v i d ' (Charlemagne), ' F l a c c u s ' ( A l c u i n ) , ' T i m o t h e u s ' ( P a u l i n u s of A q u i l e i a ) , a n d ' H o m e r ' ( A n g i l b e r t , l a t e r a b b o t of S a i n t - R i q u i e r ) , ' I d i t h u n ' h a d h i s p l a c e as the i n s t r u c t o r of t h e b o y s i n b o t h practical and theoretical m u s i c : Instituit pueros I d i t h u n m o d u l a m i n e sacro, U t q u e sonos dulces decantent voce sonora. Q u o t pedibus, numeris, r i t h m o stat m u s i c a discant. (MGH ( A n t i q u i t a t e s ) Poetae Latini aevi Carolini, i . 246; cited by M a n f r e d Schuler King

1970 a n d H u g l o 1 9 7 5 ) . I d i t h u n ( J e d u t h u n )

w a s a m u s i c i a n i n t h e t e m p l e of triumphum

D a v i d (1 C h r . 16: 4 1 - 2 a n d 2 5 : 1; also P s s . 39, 6 2 , 7 7 ) , a n d he m a k e s a r e a p p e a r a n c e i n o n e of t h o s e m o d e r n p s a l m s , N o t k e r ' s s e q u e n c e Summi regis ( v o n d e n S t e i n e n 1948, i . 2 4 0 ) . H i s i d e n t i t y at C h a r l e m a g n e ' s c o u r t is u n k n o w n . T h e ' m u s i c a ' he t a u g h t is e v i d e n t l y t h e k n o w l e d g e of p r o p o r t i o n s as e x e m p l i f i e d i n m e t r i c a l p o e t r y , as t r e a t e d i n St A u g u s t i n e ' s De musica. B u t he m u s t h a v e b e e n a personage of consequence. S e v e r a l s i n g e r s of t h e c o u r t c h a p e l are k n o w n to h a v e g o n e to to h i g h

e c c l e s i a s t i c a l o f f i c e : A n s t r a n n u s , c a n t o r at C h a r l e m a g n e ' s c o u r t , b e c a m e b i s h o p of V e r d u n i n 8 0 0 ; H u c b e r t , p r a e c a n t o r u n d e r L o u i s the P i o u s , b e c a m e b i s h o p of M e a u x i n 8 2 3 ; J o h a n n e s , c a n t o r at t h e c o u r t of L o t h a r I I , b e c a m e b i s h o p of C a m b r a i i n 7 6 6 ( M a n f r e d S c h u l e r 1970, 26-7). 34) a p p e a r s t o (GS i. 1963 a n d C S M C h a r l e m a g n e ' s o w n teacher i n the q u a d r i v i u m was A l c u i n . A treatise o n m u s i c w h i c h A l c u i n is r e p o r t e d t o h a v e c o m p o s e d ( M a n f r e d S c h u l e r 1 9 7 0 , h a v e b e e n l o s t , u n l e s s it s u r v i v e s i n the s h o r t text De 2 6 - 7 ) , t a k e n u p i n A u r e l i a n of R e o m e ' s Musica 21). W h a t e v e r t h e b e g i n n i n g s u n d e r C h a r l e m a g n e m a y h a v e b e e n , it r e m a i n s t r u e t h a t t h e first f l o w e r i n g of m e d i e v a l m u s i c t h e o r y b e l o n g s to t h e s e c o n d h a l f of t h e n i n t h century. Aurelian of Reome is a s o m e w h a t isolated figure, but the w r i t i n g s of J o h a n n e s S c o t u s E r i u g e n a ( d . r . 8 7 7 ) , R e m i g i u s of A u x e r r e ( d . c . 9 0 0 ) , H u c b a l d o f S a i n t - A m a n d ( d . 9 3 0 ) , a n d R e g i n o of P r i i m are a l l d i r e c t l y l i n k e d t o o n e a n o t h e r a n d , d i r e c t l y o r i n d i r e c t l y , w i t h t h e e n t o u r a g e of C h a r l e s t h e B a l d . Y e t t h e t r e n d w h i c h octo tonis disciplina (Gushee in musica

s e e m s t o h a v e set i n u n d e r L o u i s the P i o u s , a t r a n s f e r e n c e of t h e m a i n i n t e l l e c t u a l a c t i v i t y a w a y f r o m t h e c o u r t to the great m o n a s t e r i e s a n d e p i s c o p a l s c h o o l s of n o r t h F r a n c e a n d G e r m a n y , c o n t i n u e d . T h e p l a c e of o r i g i n of s o m e i m p o r t a n t w r i t i n g s t h e Enchiriadis no accident Despite that the g r o u p of t r e a t i s e s f o r e m o s t a m o n g t h e m i s s t i l l u n k n o w n . B u t it is Hucbald, apparent himself, of what it a R e g i n o , a n d B e r n o of R e i c h e n a u s h o u l d a l l h a v e of new writing the should on be. music For theory were Boethius i n the laid for there been of an

a b b o t s , d i s t i n g u i s h e d f o r m u c h m o r e t h a n t h e i r c o n t r i b u t i o n s to m u s i c t h e o r y . lack is time a was Charlemagne understanding there that foundations new-

'musician'

u n b r i d g e a b l e g u l f b e t w e e n t h e c o n n o i s s e u r of ' m u s i c a ' (the s c i e n c e of m u s i c t h e o r y ) , t h e c o m p o s e r , w h o s e u n d e r s t a n d i n g of m u s i c is b y i n s t i n c t r a t h e r t h a n b y t h e p o w e r of r e a s o n , a n d t h e p e r f o r m e r , the m e c h a n i c ( B k . 1, c h . 3 4 ) . A l t h o u g h t h i s d o c t r i n e w a s r e p r o d u c e d i n m o d i f i e d f o r m b y A u r e l i a n , f o r e x a m p l e ( c h . 7 ) , a n d i n G u i d o of A r e z z o ' s c a t c h y r h y m e ' M u s i c o r u m et c a n t o r u m ' , n u m e r o u s m u s i c i a n s c o m b i n e d a l l three types i n themselves w i t h h o n o u r . P e r h a p s the single most i m p o r t a n t m o t i v e for writing about music among medieval theorists was the desire to improve the p e r f o r m a n c e of t h e l i t u r g y . ( C h a p t e r V a b o v e t h e r e f o r e c o n c e n t r a t e s o n w r i t i n g of a p r a c t i c a l i n t e n t . ) A u r e l i a n a n d the s u b s t a n t i a l figure of R e g i n o are e a r l y e x a m p l e s o f p r a c t i s i n g c h u r c h m u s i c i a n s w h o c o n t r i b u t e d to t h e t h e o r e t i c a l l i t e r a t u r e . H u c b a l d w a s s i m u l t a n e o u s l y s i n g e r i n the p e r f o r m a n c e of t h e l i t u r g y , c o m p o s e r , a n d t h e o r i s t . T h e s e h a v e t h e i r f o r e r u n n e r i n the u n k n o w n ' I d i t h u n ' , t h e i n s t r u c t o r i n b o t h a n d m u s i c t h e o r y , t h e p a r a d i g m of the n e w t y p e of m e d i e v a l c h u r c h m u s i c i a n . chant

Gregorian Chant and Other C h a n t Repertories

VIII.1. I N T R O D U C T I O N

I n t h i s c h a p t e r I s h a l l a t t e m p t to s u m m a r i z e t h e r e l a t i o n s h i p of G r e g o r i a n c h a n t to other types of e a r l y chant i n the West, so t h a t G r e g o r i a n chant itself may be u n d e r s t o o d i n a r a t h e r b r o a d e r c o n t e x t t h a n w o u l d o t h e r w i s e be p o s s i b l e . ( M o z a r a b i c ) , a n d G a l l i c a n uses has b e e n i n d i c a t e d i n p r e v i o u s c h a p t e r s N o w t h e m u s i c a l a s p e c t s o f t h i s r e l a t i o n s h i p are s k e t c h e d i n . O n e p o i n t of t h e c h a p t e r is to h e l p d e f i n e t h e n a t u r e of w h a t t h e F r a n k s l e a r n e d f r o m R o m e a n d w h a t t h e y r e c o r d e d i n t h e first m u s i c m a n u s c r i p t s , t h a t i s , t o a n s w e r the question, what is Gregorian chant? As is w e l l known, the earliest music m a n u s c r i p t s f r o m R o m e i t s e l f c o n t a i n q u i t e d i f f e r e n t m u s i c f o r t h e s a m e t e x t s as G r e g o r i a n chant, Old Roman m u s i c w h i c h is c o m m o n l y c a l l e d O l d R o m a n c h a n t . is n o t the only old chant repertory of Italy, If t h i s is bears R o m a n , b u t d i f f e r s f r o m G r e g o r i a n , i n w h a t sense is G r e g o r i a n c h a n t chant 'Roman? a n d it Something (VI.4-5).

of t h e s i m i l a r i t i e s a n d d i f f e r e n c e s i n l i t u r g y b e t w e e n R o m a n , M i l a n e s e , O l d S p a n i s h

s i m i l a r i t i e s of m u s i c a l s t y l e to t h e t w o o t h e r e x t a n t r e p e r t o r i e s , n a m e l y M i l a n e s e a n d O l d Beneventan R o m a n chant. chant. The T h e s e p r o v i d e the m u s i c a l c o n t e x t for u n d e r s t a n d i n g O l d To the three ' O l d Italian' repertories are d i s c u s s e d i n V I I I . 3 - 5 .

understand Gregorian chant,

o n t h e o t h e r h a n d , w e s h o u l d at least c o n s i d e r

p o s s i b i l i t y t h a t t h e F r a n k s w e r e i n f l u e n c e d b y t h e t r a d i t i o n a l c h a n t of G a u l , t h a t i s , G a l l i c a n c h a n t . T h e r e is a n o b v i o u s o b s t a c l e to t h i s , i n t h a t t h e G a l l i c a n r i t e a n d its c h a n t w e r e s u p p r e s s e d i n f a v o u r o f R o m a n u s e , a n d p r a c t i c a l l y n o t h i n g of t h e c h a n t r e p e r t o r y s u r v i v e s . B u t a s i s t e r r e p e r t o r y , t h a t of t h e O l d S p a n i s h r i t e , d o e s s u r v i v e , a l b e i t i n staffless n e u m a t i c n o t a t i o n . O n t h i s b a s i s w e c a n m a k e at least a t e n t a t i v e g u e s s at t h e n a t u r e of w h a t t h e F r a n k s s u p p r e s s e d a n d w h a t m a y h a v e i n f l u e n c e d t h e i r u n d e r s t a n d i n g of t h e R o m a n repertory. T h e r e a d e r m a y j u s t i f i a b l y h a v e e x p e c t e d g r e a t e r s p a c e to h a v e b e e n d e v o t e d to t h e s e n o n - G r e g o r i a n c h a n t r e p e r t o r i e s . T h e r e is n o d o u b t t h a t , d e s p i t e a n u m b e r of fine studies, they are s t i l l n o t g e n e r a l l y w e l l k n o w n . T h e studies not with the But o n l y has historical circumstance reason f o r t h i s is Roman to the their preoccupation Gregorian of e a r l y m u s i c still s u n g i n the church,

chant.

contributed

n e g l e c t , s o m e o f t h e n o n - G r e g o r i a n r e p e r t o r i e s h a v e b e e n d e n i g r a t e d as a e s t h e t i c a l l y i n f e r i o r to the G r e g o r i a n , an unfortunate a n d b a s e l e s s j u s t i f i c a t i o n of s o m e t h i n g w h i c h h a d q u i t e d i f f e r e n t c a u s e s . T h e s i t u a t i o n at t h e m o m e n t is t h a t w h i l e t h e r e a r e e x c e l l e n t s t u d i e s o f i n d i v i d u a l g e n r e s of O l d S p a n i s h , O l d R o m a n , a n d M i l a n e s e c h a n t (such as t h o s e of B a i l e y ) , w h i c h are i n m a n y respects s u p e r i o r to a n y t h i n g yet a v a i l a b l e f o r G r e g o r i a n chant genres, a n d w h i l e the w h o l e c o r p u s of O l d B e n e v e n t a n c h a n t h a s b e e n d i s c u s s e d i n e x e m p l a r y f a s h i o n b y K e l l y , a b a l a n c e d s u r v e y of all of t h e s e is n o t y e t p o s s i b l e i n t h e w a y that i t is p o s s i b l e f o r G r e g o r i a n c h a n t , c e r t a i n l y n o t i n a b o o k of t h i s l e n g t h . I n p a r t i c u l a r , t h e r e is a n e e d t o r e t u r n t o G r e g o r i a n c h a n t i n t h e l i g h t o f t h e n e w k n o w l e d g e a b o u t t h e o t h e r r e p e r t o r i e s . T h i s is w o r k t h a t o c c u p y scholars for m a n y years to c o m e . D u r i n g m u c h of t h e p e r i o d f r o m t h e f o u r t h t o t h e n i n t h c e n t u r y , t h e e a s t e r n R o m a n e m p i r e a n d its capital B y z a n t i u m enjoyed greater material w e a l t h , political p o w e r , a n d ecclesiastical prestige t h a n the k i n g d o m s of the W e s t , a n d o f t e n i n f l u e n c e d W e s t e r n affairs d i r e c t l y , m o s t o b v i o u s l y i n Italy, parts of w h i c h w e r e l o n g u n d e r B y z a n t i n e r u l e . T h e p o s s i b i l i t y has often b e e n d i s c u s s e d that the B y z a n t i n e l i t u r g y a n d its chant c o u l d h a v e i n f l u e n c e d R o m a n u s e . A p r e l i m i n a r y s e c t i o n ( V I I L 2 ) is d e v o t e d t o t h i s question. will

VIII.2. (i) (ii) (iii) (iv) (v) (vi) (vii) (viii) (ix)

T H EI N F L U E N C E

O F

B Y Z A N T I U M

Introduction T h e S y s t e m of E i g h t M o d e s A n t i p h o n s for the A d o r a t i o n of the Cross and O t h e r C h a n t s i n O l d Italian Repertories T h e Trisagion T h e F r a n k i s h ' M i s s a graeca' T h e C o m m u n i o n Omnes qui in Chris to T h e Byzantine A l l e l u i a s T e x t u a l Concordances w i t h o u t M u s i c a l S i m i l a r i t y T h e Veterem hominem A n t i p h o n s for the Octave of E p i p h a n y

P a l M u s 5 ; P a l M u s 14; B r o u 1 9 3 8 - 9 , 1 9 4 8 - 5 2 ; Wellesz 1947; B a u m s t a r k 1958; J a m m e r s 1962, Musik; L e v y 1 9 5 8 - 6 3 ; H u g l o 1966; J a m m e r s 1969; L e v y 1970; S t r u n k 1977, 2 9 7 - 3 3 0 ; K e l l y 1989, 2 0 3 - 1 8 ; L e v y , ' B y z a n t i n e R i t e , M u s i c of the', NG. (i) Introduction

A t first s i g h t it m i g h t s e e m t h a t a g o o d case c o u l d b e m a d e o u t f o r t h e l i k e l i h o o d o f B y z a n t i n e i n f l u e n c e o n R o m a n c h a n t . A f t e r the fall of t h e W e s t e r n R o m a n e m p i r e , Italy was for l o n g periods a territory d i s p u t e d between B y z a n t i u m a n d the i n v a d i n g G e r m a n i c peoples. T h e reconquest of Italy b y J u s t i n i a n f r o m 5 3 3 , t e m p o r a r y t h o u g h it p r o v e d , i n t r o d u c e d w h a t h a s b e e n c a l l e d t h e ' B y z a n t i n e p e r i o d ' i n t h e h i s t o r y o f t h e p a p a c y , l a s t i n g o v e r t w o c e n t u r i e s . E l e v e n o u t of t h i r t e e n p o p e s b e t w e e n 6 7 8 a n d 7 5 2

were Greek or S y r i a n by b i r t h . T h e

outbreak

of the iconoclastic

persecution

in

B y z a n t i u m i n 7 2 6 r e s u l t e d i n t h e m o v e m e n t of m a n y G r e e k c h u r c h m e n t o t h e W e s t . If t h e r e w e r e e v i d e n c e of w i d e s p r e a d B y z a n t i n e i n f l u e n c e i n R o m a n c h a n t it w o u l d be easy t o e x p l a i n . O n t h e o t h e r h a n d , t h e r e c u r r e n t p o l i t i c a l a n d t h e o l o g i c a l d i f f e r e n c e s w h i c h s e p a r a t e d R o m e a n d B y z a n t i u m m a y as e a s i l y h a v e c o n t r i b u t e d t o t h e s e p a r a t e d e v e l o p m e n t of t h e i r c h a n t repertories. Some fundamental differences cannot be o v e r l o o k e d . T h e W e s t e r n rites never f o l l o w e d B y z a n t i u m i n the c o m p o s i t i o n of the v a s t n u m b e r of k o n t a k i a a n d k a n o n e s w h i c h c o n s t i t u t e o n e of t h e g l o r i e s of B y z a n t i n e music. entrance O n the other h a n d , B y z a n t i u m r e m a i n e d r i g i d l y e c o n o m i c a l w h e r e 1977, 316): c h a n t c o r r e s p o n d i n g to t h e i n t r o i t , t w o o f f e r t o r i e s , chants). Rome d e v e l o p e d a c y c l e of p r o p e r - o f - m a s s c h a n t s ( S t r u n k (communion basically o n l y one

two dozen koinonika

T h e h i s t o r y of t h e R o m a n l i t u r g y a n d i n t h e a b s e n c e of m u s i c a l d o c u m e n t s t h i s is a l l w e c a n a r g u e f r o m i s o n e of g e n e r a l i n d e p e n d e n c e f r o m t h e B y z a n t i n e r i t e . T h e i n f l u e n c e of B y z a n t i u m i s s e e n r a t h e r i n i n d i v i d u a l d e t a i l s r a t h e r t h a n o v e r a l l f o r m a n d content. other It m a y b e t h a t s o m e a s p e c t s of R o m a n a n d B y z a n t i n e c h a n t r e s e m b l e derive f r o m a c o m m o n s o u r c e t h o u g h rarely has a each because they serious

a t t e m p t b e e n m a d e to d e m o n s t r a t e w h a t t h i s m i g h t m e a n i n t e r m s of a c t u a l p i e c e s of m u s i c (see t h e a r t i c l e s b y L e v y ) . Y e t t h e a v a i l a b l e m u s i c a l e v i d e n c e , l i k e t h e l i t u r g i c a l , relates to isolated items. M o s t of t h e s e are t o b e found, moreover, not in the G r e g o r i a n r e p e r t o r y b u t i n the O l d Italian t r a d i t i o n s : O l d R o m a n ( r a r e l y ) , M i l a n e s e , and O l d Beneventan. Jammers (1962, 183), i n a s t u d y t h a t i n f l u e n c e d t h e t h i n k i n g of s e v e r a l 2, 58*) other s c h o l a r s ( p r i n c i p a l l y S t a b l e i n : cf. S t a b l e i n , M M M A argued that G r e g o r i a n

c h a n t w a s t h e r e s u l t o f O l d R o m a n c h a n t c a r r i e d o u t at p a p a l b e h e s t ( s p e c i f i c a l l y , t h a t of V i t a l i a n , 6 5 7 - 7 2 , b u t o n t h e b a s i s of s o u r c e s n o o l d e r t h a n the t h i r t e e n t h c e n t u r y ! ) t o m a k e it m o r e c o m p a t i b l e w i t h t h e B y z a n t i n e p r a c t i c e of i s o n s i n g i n g , a t y p e of c h a n t i n g w i t h v o c a l d r o n e u n f o r t u n a t e l y not d o c u m e n t e d before the fifteenth century. ( T h e o b v i o u s d e f i c i e n c i e s i n J a m m e r s ' s a r g u m e n t s w e r e stated s u c c i n c t l y b y N o w a c k i 1 9 8 5 , 2 6 0 - 1 . ) E v e n if t h e r e w e r e b e t t e r d o c u m e n t a r y e v i d e n c e f o r t h e ' i s o n ' t h e o r y , it s e e m s u n w i s e t o p r o p o s e s u c h a l l - e m b r a c i n g h y p o t h e s e s a b o u t t h e s t y l e of B y z a n t i n e a n d R o m a n m u s i c i n t h e s e v e n t h c e n t u r y o n t h e b a s i s of m u s i c a l s o u r c e s of t h e n i n t h to t e n t h c e n t u r i e s ( G r e g o r i a n ) , t h e e l e v e n t h ( O l d R o m a n ) , a n d l a t e r ( B y z a n t i n e ) . M o r e s i g n i f i c a n t , it a p p e a r s to m e , is J a m m e r s ' s o b s e r v a t i o n that c h a n t is b o u n d to a t e x t a n d o f t e n s h a p e s i t s e l f a c c o r d i n g to t h e n e e d s o f t e x t d e c l a m a t i o n . D i f f e r e n c e s of language have far-reaching m u s i c a l (IV.4). N e e d l e s s to s a y , i n w h a t f o l l o w s I h a v e n o t a t t e m p t e d to l i s t e a c h i n s t a n c e possible B y z a n t i n e influence or W e s t e r n b o r r o w i n g . ( F o r further references, bibliography in Levy, Jammers 1969 ' B y z a n t i n e R i t e , M u s i c o f t h e ' , NG\ B r o u lists over of see t h e forty consequences. I h a v e a l r e a d y d i s c u s s e d t h e p o s s i b l e i n f l u e n c e of B y z a n t i n e o n W e s t e r n n o t a t i o n

p o s s i b l e b o r r o w i n g s , m a n y o f w h i c h h a v e n o t yet b e e n s u b j e c t e d to m u s i c a l a n a l y s i s ; p o v i d e s a n o t h e r l i s t . ) It s e e m s p o s s i b l e to d i s t i n g u i s h t h e following

categories:

(a)

musical similarities which

m a y go back to the

c o m m o n roots

of

C h r i s t i a n m u s i c i n t h e e a r l y c h u r c h ; that t h i s is b y n o m e a n s u n l i k e l y m i g h t b e a r g u e d f r o m the a n a l o g y of G r e e k r e a d i n g s i n the R o m a n mass, w h i c h p e r s i s t e d i n t o the n i n t h c e n t u r y ( V o g e l 1986, 2 9 6 - 7 ) ; (b) W e s t e r n b o r r o w i n g of t e x t s w h e r e n o c o r r e s p o n d i n g m u s i c a l s h a r i n g h a s b e e n e s t a b l i s h e d ; (c) W e s t e r n v e r s i o n s of B y z a n t i n e c h a n t s ; have existed. B y z a n t i n e m u s i c a l i n f l u e n c e c a n be s e e n to r e d u c e i t s e l f l a r g e l y t o a n u m b e r l a r g e l y i n d e p e n d e n t l y of G r e e k m o d e l s . T h e r e borrowings Beneventan. in the non-Roman Old Italian is a s o m e w h a t liturgies, the larger n u m b e r Milanese and of of i n d i v i d u a l i n s t a n c e s . T h e o v e r w h e l m i n g i m p r e s s i o n is t h a t R o m a n c h a n t d e v e l o p e d Old (d) n e w W e s t e r n c o m p o s i t i o n s w i t h G r e e k texts for w h i c h n o B y z a n t i n e m o d e l appears to

(ii)

The

System

of Eight

Modes

Raasted 1966; Bailey 1974; H u c k e 1975. T h e e i g h t - m o d e system m a y have been taken u p b y the F r a n k s after the B y z a n t i n e e x a m p l e . It d o e s n o t s e e m to h a v e b e e n p a r t of w h a t t h e y l e a r n e d f r o m R o m e , f o r it p l a y s n o p a r t i n t h e o r g a n i z a t i o n o f the O l d R o m a n c h a n t r e p e r t o r y . T h e o f v a r i o u s g r o u p s of c h a n t s , have exerted influence on a p p e a r to h a v e b e e n b o r r o w e d f r o m t h e the shape of certain chants which 'noeanne' intonation had f o r m u l a s o f F r a n k i s h t o n a r i e s , w h i c h h e l p e d r e m i n d s i n g e r s of t h e p i t c h - c o n s t e l l a t i o n s f o r m u l a s o f B y z a n t i n e c h a n t (see I I I . 14). It is t r u e t h a t t h e m o d a l s y s t e m a p p e a r s t o otherwise p e c u l i a r i t i e s c o n s o r t i n g uneasily w i t h it. Y e t the G r e g o r i a n r e p e r t o r y c a n n o t be s a i d to have b e e n f o r m e d f r o m the b e g i n n i n g i n c o n f o r m i t y w i t h the s y s t e m . T h e B y z a n t i n e i n f l u e n c e is t h e r e f o r e i n d i r e c t a n d s e c o n d a r y .

( i i i ) Antiphons Repertories

for

the Adoration

of the Cross and

Other Chants

in Old

Italian

T h e a n t i p h o n s O quando

in cruce,

Adoramus

crucem

tuam,

Crucem

tuam

adoremus 21-2,

for the A d o r a t i o n of the C r o s s , a n d some other H o l y W e e k i t e m s , w e r e s u n g b o t h i n G r e e k a n d L a t i n i n B e n e v e n t o a n d some other I t a l i a n centres ( W e l l e s z 1947, forebears. F o r example, O quando in cruce, found in Beneventan and 6 8 - 7 7 ; P a l M u s 14, 3 0 5 - 8 ; D r u m b l 1 9 7 6 ; K e l l y 1989, 2 0 7 - 1 8 ) . S o m e h a v e B y z a n t i n e Ravenna s o u r c e s , is a v e r s i o n of a B y z a n t i n e t r o p a r i o n w h i c h c a n b e f o l l o w e d b a c k t o t h e r i t e o f J e r u s a l e m i n t h e s e v e n t h c e n t u r y . Its p r e s e n c e i n R a v e n n a s h o u l d m e a n t h a t it w a s a l r e a d y u s e d i n t h e l i t u r g y t h e r e b e f o r e t h e f a l l of t h e B y z a n t i n e E x a r c h a t e of R a v e n n a to the L o m b a r d s i n 752. T h e s e are e x a m p l e s of c h a n t s w h o s e s o u r c e s are p r i n c i p a l l y I t a l i a n . O t h e r s are t h e A m b r o s i a n i n g r e s s a e Coenae tuae mirabili a n d Videsne Elisabeth, w h i c h both appear t o be m o d e l l e d o n B y z a n t i n e p i e c e s ( P a l M u s 5, 9 - 1 3 ; Levy 1958-63).

(iv)

The

Trisagion o

A n o t h e r c h a n t f r o m t h e c e r e m o n y of t h e A d o r a t i o n of t h e C r o s s , t h e T r i s a g i o n Agios B y z a n t i n e r i t e the T r i s a g i o n w a s s u n g s e v e r a l t i m e s e v e r y d a y i n v a r i o u s

theos, is s u n g i n t h e R o m a n r i t e i n G r e e k a n d L a t i n as p a r t of t h e i m p r o p e r i a . I n t h e services. L e v y ( 1 9 7 2 ) has a r g u e d t h a t b o t h E a s t e r n a n d W e s t e r n v e r s i o n s r e l y o n a c o m m o n m o d a l t r a d i t i o n , a n d w o r k w i t h i n t h e s a m e set of n o t e s , w i t h o u t t h e o n e b e i n g d e r i v e d d i r e c t l y f r o m the other.

(v)

The

Frankish

Missagraeca' \9S9 Doxa\

i

L e v y 1 9 5 8 - 6 3 ; H u g l o 1966; A t k i n s o n 1981, 1982 VMissa Graeca',

A set of m a s s c h a n t s i n G r e e k a p p e a r s o m e w h a t s p o r a d i c a l l y i n W e s t e r n of t h e ninth century o n w a r d . A t k i n s o n ' s c a r e f u l i n v e s t i g a t i o n of t h e others t r a n s m i s s i o n of t h o s e f o r t h e o r d i n a r y of m a s s (the

manuscripts origin and and

are m u c h less w i d e l y

d i s s e m i n a t e d ) has l e d h i m t o p r o p o s e t h a t t h e y w e r e p u t t o g e t h e r b e t w e e n 8 2 7 D i o n y s i u s t h e A r e o p a g i t e to L o u i s t h e P i o u s . T h e s e w r i t i n g s w e r e t r a n s l a t e d

8 3 5 , a f t e r t h e E a s t e r n e m p e r o r M i c h a e l I I h a d s e n t a c o p y of the w o r k s of t h e P s e u d o under the as tu t h e d i r e c t i o n of A b b o t H i l d u i n o f S a i n t - D e n i s . A t k i n s o n b e l i e v e s t h e t e x t s of concern f o r t h e u n i t y of C h r i s t e n d o m d e t e c t a b l e i n t h e w o r k s of s u c h w r i t e r s

' m i s s a g r a e c a ' c o u l d h a v e o r i g i n a t e d at t h e s a m e t i m e , w h i c h c o i n c i d e d w i t h t h e s p e c i a l A m a l a r i u s of M e t z a n d A g o b a r d of L y o n s . A t k i n s o n a r g u e s p e r s u a s i v e l y t h a t t h e m e l o d y f o r the G r e e k A g n u s D e i (O amnos then), o f t h e G l o r i a (Doxa en ipsistis), C r e d o (Pisteuo eis ena theon), and Sanctus w a s c o m p o s e d e x p r e s s l y to c o m p l e t e t h e set. O n the o t h e r h a n d , t h e m e l o d i e s (Agios) Sanctus

m a y w e l l b e e a r l i e r b o r r o w i n g s f r o m t h e E a s t . I n fact L e v y b e l i e v e s t h a t t h e

r e p r e s e n t s a n a n c i e n t r e c i t a t i o n f o r m u l a w h i c h u n d e r l i e s the w h o l e A n a p h o r a of m a s s , t h e L o r d ' s P r a y e r , a n d t h e T e D e u m as w e l l ( L e v y 1 9 5 8 - 6 3 ; see 1 1 . 1 8 ) , c o m p a r a b l e i n this respect w i t h the T r i s a g i o n just m e n t i o n e d . T h e rest of t h e ' m i s s a g r a e c a ' i n t r o i t , K y r i e , o f f e r t o r y , a n d c o m m u n i o n a p p e a r s t o b e a d a p t e d f r o m L a t i n c h a n t s . T h e m a s s w a s u s u a l l y s u n g at P e n t e c o s t , w h e n t w o alleluias w o u l d n o r m a l l y have been p e r f o r m e d , but no special p r o v i s i o n for appears to have been made. Some (Brou other alleluias w i t h Greek t e x t s are h o w e v e r , f r o m a s m a l l n u m b e r of m o s t l y n o r t h F r e n c h a n d E n g l i s h m a n u s c r i p t s : sanctificatuslYmera agiasmeni 1 9 3 8 - 9 ) a n d a set i n C a m b r a i , M u n i c i p a l e 75 ( S a i n t - V a a s t at A r r a s , e a r l y e l e v e n t h c e n t u r y ; B r o u 1 9 4 8 [ - 5 2 ] , them Dies 172known,

Bibliotheque certainly

6 ) . N o n e of t h e s e a p p e a r s to b e b a s e d o n E a s t e r n o r i g i n a l s , b u t t h e y are

e v i d e n c e of a l i v e l y i n t e r e s t i n G r e e k l e a r n i n g , t y p i c a l p a r t i c u l a r l y of n o r t h e r n F r e n c h c e n t r e s i n t h e s e c o n d p a r t of t h e n i n t h c e n t u r y . T h e ' m i s s a g r a e c a ' w a s l a t e r r o u n d e d o u t at S a i n t - D e n i s to m a k e a c o m p l e t e set of p r a y e r s f o r the o c t a v e of t h e feast of t h e abbey's patron saint.

(vi)

The Communion

Omnes qui in Christo

L e v y 1970. T h e mass of Easter E v e where the neophytes were b a p t i z e d has very few chants i n the Roman offertory rite a n d consequently chant Omnes qui i n Gregorian chant-books. L e v y has uncovered a O n e of these, the sources with as t h e to be a it appears n u m b e r of p r o p e r chants f o r the mass i n O l d Italian sources. in Christo, communion o n t h e S a t u r d a y of Easter week. W h a t is m o r e , eis Christon,

c a n be f o u n d i n R o m a n

t r a n s l a t i o n o f t h e B y z a n t i n e b a p t i s m a l c h a n t Hosoi

essentially

s i m i l a r m u s i c . O t h e r a s p e c t s o f t h i s set o f c h a n t s , p a r t i c u l a r l y t h e i r m o d a l u n i t y , l e a d L e v y to suspect roots i n the early C h r i s t i a n p e r i o d before the d i v i s i o n of the e m p i r e and t h e cleavage between the m a i n C h r i s t i a n churches.

( v i i ) The Byzantine T h o d b e r g 1966.

Alleluias

L i k e the R o m a n a n d other W e s t e r n repertories, B y z a n t i n e chant has a cycle of p r o p e r a l l e l u i a s . T h e y h a v e a s t a n d a r d set o f s h o r t ' a l l e l u i a ' o p e n i n g s , o n e f o r e a c h o f s i x m o d e s ( t h e t w o F m o d e s are n o t u s e d ) , w i t h florid verses. T h o d b e r g (1966, 1 6 8 - 9 5 ) Week, believes that m e l o d i c similarities can be d e m o n s t r a t e d b e t w e e n three of these m e l o d i e s a n d t h r e e o f t h e G r e e k a l l e l u i a s s u n g at R o m a n E a s t e r V e s p e r s a n d i n E a s t e r t h e s e a l l e l u i a s are a l s o k n o w n , Quoniam deus magnus, Thodberg's analysis embraces regnavit speravi; whose chants are f o u n d i n the O l d R o m a n chant m a n u s c r i p t s . S i n c e L a t i n versions of the Gregorian and Oty theos = S n o w h a d already M i l a n e s e t r a d i t i o n s as w e l l (O kyrios Epy si kyrie = Dominus decorem,

In te domine

n o t i c e d t h e m e l o d i c strangeness of these alleluias i n the O l d R o m a n r e p e r t o r y : A p e l 1958, 4 9 9 ) .

( v i i i ) Textual Texts

Concordances

without

Musical

Similarity

c o m m o n to B y z a n t i n e a n d W e s t e r n rites have o c c a s i o n a l l y b e e n i d e n t i f i e d , propitiator, w h i c h h a s b e e n i d e n t i f i e d as p a r t o f a k o n t a k i o n b y It appears i n v a r i o u s l i t u r g i c a l

w i t h o u t t h e m e l o d i e s b e i n g r e c o g n i z a b l y s i m i l a r . A n e x a m p l e is t h e text of t h e H o l y W e e k c h a n t Vadit R o m a n o s t h e M e l o d e (first h a l f o f s i x t h c e n t u r y ) .

functions w i t h various melodies i n the three O l d Italian chant repertories: M i l a n e s e , O l d R o m a n , a n d Beneventan. ( P a l M u s 5, 6 - 9 , H e s b e r t 1 9 3 8 - 4 7 : 1945, 7 3 - 8 , K e l l y 1989, 2 0 6 , 2 9 5 - 6 ) .

(ix)

The

V e t e r e m h o m i n e m Antiphons

for

the Octave

of

Epiphany

H a n d s c h i n 1954;

L c m a n e 1958; S t r u n k 1964 = 1977,

208-19.

N o t k e r B a l b u l u s ' l i f e of C h a r l e m a g n e , w r i t t e n f o r C h a r l e s the F a t i n 8 8 3 - 4 , r e l a t e s that t h e e m p e r o r h e a r d m e m b e r s of a B y z a n t i n e l e g a t i o n a c c o r d i n g t o H a n d s c h i n t h e e m b a s s y s e n t to A a c h e n i n 8 0 2 b y t h e e m p r e s s I r e n e s i n g i n g i n a s e r v i c e o n t h e O c t a v e o f E p i p h a n y , a n d o r d e r e d a L a t i n v e r s i o n of the c h a n t s to be m a d e , m a t c h i n g the o r i g i n a l s y l l a b l e f o r s y l l a b l e : t h i s w a s t h e s e r i e s of a n t i p h o n s s t a r t i n g w i t h hominem guessed for L a u d s o n the O c t a v e that the pieces were the Epiphany. The same. Veterem been both closer B y z a n t i n e originals have mode is t h e same in

i d e n t i f i e d , a l t h o u g h , as S t r u n k h a s s t a t e d , w i t h o u t N o t k e r ' s s t o r y o n e w o u l d n o t h a v e A t least t h e t r a d i t i o n s . If s u c h b o r r o w i n g s are to be r e c o g n i z e d o n m u s i c a l g r o u n d s a l o n e , s t y l i s t i c a n a l y s i s of t h e W e s t e r n a n t i p h o n r e p e r t o r y is c l e a r l y r e q u i r e d .

VIII.3. (i) (ii) (iii) (iv) (v) (vi) (vii) (viii) (i) Three

O L D I T A L I A N

C H A N T

I :

R O M E

Introduction Sources and Studies of O l d R o m a n C h a n t Examples: Communions Graduals Antiphons Offertories Alleluias Oral Tradition

Introduction Italian chant repertories have s u r v i v e d , f r o m R o m e , M i l a n , a n d Benevento There

r e s p e c t i v e l y , w h i c h i n m a n y r e s p e c t s are q u i t e d i f f e r e n t f r o m G r e g o r i a n c h a n t . to p a s s t h e m b y . ( S e e L e v y , ' R a v e n n a R i t e , M u s i c of t h e ' , NG, NG.)

are f a i n t t r a c e s of o t h e r r e p e r t o r i e s as w e l l , b u t t h e i r r e m a i n s are so s l i g h t t h a t I h a v e and Bryant, 'Aquileia',

T h e R o m a n c h a n t is f o r t h e R o m a n l i t u r g y , j u s t as is G r e g o r i a n c h a n t , the g r e a t m a j o r i t y of t h e i r t e x t s b e i n g t h e s a m e . T h e r e l a t i o n s h i p b e t w e e n t h e s e t w o s o r t s of c h a n t f o r t h e o n e l i t u r g y is t h e s u b j e c t of a s p e c i a l s e c t i o n i n t h i s c h a p t e r . S i n c e s h a l l f o l l o w t h e p r a c t i c e of s o m e o t h e r w r i t e r s a n d c a l l it ' O l d R o m a n ' . T h e M i l a n e s e l i t u r g y is d i f f e r e n t f r o m t h e R o m a n , as I h a v e a l r e a d y i n d i c a t e d a b o v e ( V I . 4 - 5 ) . Its c h a n t has s u r v i v e d i n use u n t i l t h i s d a y . A l t h o u g h the sources for the B e n e v e n t a n l i t u r g y b e f o r e its r e p l a c e m e n t by the the R o m a n are f e w , e n o u g h is k n o w n to a l l o w us to g i v e it a p l a c e e q u i v a l e n t to was superseded b y the G r e g o r i a n . the R o m a n chant w a s s u p e r s e d e d i n R o m e b y G r e g o r i a n chant i n the t h i r t e e n t h c e n t u r y , I

M i l a n e s e . T h e c h a n t c r e a t e d f o r t h i s o l d l i t u r g y m a y b e c a l l e d ' O l d B e n e v a n t a n ' , f o r it

T h e s t y l i s t i c s i m i l a r i t i e s i n t h e m u s i c of t h e s e t h r e e c h a n t r e p e r t o r i e s a l l o w u s , w i t h d u e c a u t i o n , to g r o u p t h e m u n d e r the d e s i g n a t i o n ' O l d I t a l i a n ' , w h o s e i d i o m d i f f e r s i n certain f u n d a m e n t a l ways f r o m G r e g o r i a n chant.

( i i ) Sources

and

Studies

of Old Roman

Chant but

O l d R o m a n c h a n t , as a l r e a d y s t a t e d , s e r v e s t h e s a m e l i t u r g y as G r e g o r i a n c h a n t , w i t h o u t the l i t u r g i c a l m o d i f i c a t i o n s m a d e b y the F r a n k s i n the

eighth and ninth there

c e n t u r i e s . T h a t m e a n s t h a t f o r the m a j o r i t y of c h a n t s of t h e R o m a n l i t u r g y , b o t h a n O l d R o m a n a n d a G r e g o r i a n version exist. A p a r t f r o m the m u s i c a l differences, are a n u m b e r of cases w h e r e t h e O l d R o m a n a n d G r e g o r i a n b o o k s h a v e a d i f f e r e n t c h a n t f o r a p a r t i c u l a r l i t u r g i c a l o c c a s i o n : s e v e r a l cases f o r t h e m a s s c h a n t s , a n d m a n y more for the office, where variety between uses is a l w a y s m u c h g r e a t e r . Other differences c o n c e r n t h e w o r d i n g of c h a n t t e x t s . S o m e 'Vieux-romain', Frenaud O l d R o m a n melodies San C. 74, formerly of t h e l i t u r g i c a l a n d t e x t u a l 1959). are t h r e e g r a d u a l s a n d the 16069) Phillipps C . 74 (Rome, Martin two and

d e t a i l s p e c u l i a r t o O l d R o m a n b o o k s h a v e o c c a s i o n a l l y b e e n f o u n d i n m a n u s c r i p t s of G r e g o r i a n c h a n t ( H u g l o 1954, The Bodmer p r i n c i p a l sources private of t h e

B i b l i o t e c a A p o s t o l i c a V a t i c a n a , V a t . lat. 5319, collection Bodmer antiphoners (Rome,

Pietro F . 22,

B i b l i o t e c a A p o s t o l i c a V a t i c a n a , S a n P i e t r o B . 79 a n d L o n d o n , has been published together

B r i t i s h L i b r a r y , A d d . 2 9 9 8 8 ) . A f a c s i m i l e of B o d m e r

( L u t o l f 1987) a n d a t r a n s c r i p t i o n of V a t . l a t . 5 3 1 9 ( b y L a n d w e h r - M e l n i c k i i n M M M A 2 ) . C u t t e r 1979 has e d i t e d t h e t e x t s of V a t . l a t . 5 3 1 9 a n d S a n P i e t r o F . 2 2 , w i t h G e o r g i i ' s ( i n a c c u r a t e ) c o p y of t h e t e x t s of B o d m e r C . P i e t r o F . 22, f r o m the t h i r t e e n t h century. 74. t h e latest is S a n T h e e a r l i e s t of t h e s e m a n u s c r i p t s is B o d m e r C . 7 4 , d a t e d 1 0 7 1 ;

T h e first s u r v e y of e a c h of t h e m a j o r O l d R o m a n c h a n t g e n r e s w a s m a d e b y S n o w ( i n A p e l 1958, 4 8 4 - 5 0 5 ) . T h e best r e c e n t s u r v e y of t h i s t y p e is H u c k e , ' G r e g o r i a n a n d O l d R o m a n C h a n t ' , NG. introits: graduals: tracts: alleluias: offertories: communions: office antiphons: great responsories psalm tones: ordinary-of-mass E x t e n d e d s t u d i e s of m o s t c a t e g o r i e s h a v e b e e n 'Introits and C o m m u n i o n s ' ; see also Connolly 1957, 2, 1980 'Gregorianischer', 1956 completed: 1972, C o n n o l l y 1972, Connolly

' A r c h e t y p e s ' , C o n n o l l y 1975, H a n s S c h m i d t 1955,

V a n D e u s e n 1972; Stablein in M M M A D y e r 1971, Murphy 1977

see also H u c k e 1955, 1958 119*140*

K a h m e r 1 9 7 1 ; see also H u c k e 1980, ' A u f z e i c h n u n g ' see also N o w a c k i 1985 1976

N o w a c k i 1980; of mode 2: chants: Boe

C u t t e r 1 9 6 9 ; see a l s o C u t t e r 1967, ' O r a l ' , 1 9 7 0 , 1982

D y e r 1989,

'Singing'

(iii) Examples: Stated

Communions for n u m e r o u s exceptions, Old Roman chant is

very broadly, and allowing

d i s p l a y s m a n y o f t h e s a m e f o r m a l c h a r a c t e r i s t i c s as G r e g o r i a n c h a n t ;

the text

t r e a t e d i n t h e s a m e w a y . T h e t w o s e t t i n g s agree o n w h e r e p h r a s e s b e g i n a n d e n d , a n d the s e t t i n g s o f t h o s e p h r a s e s u s u a l l y h a v e t h e s a m e s h a p e a n d t o n a l c h a r a c t e r . finds the same structural elements figures. in both types of c h a n t : intonation recitation passages, cadence One figures,

T h e m a i n difference between the G r e g o r i a n and

O l d R o m a n c h a n t c o n c e r n s s u r f a c e d e t a i l . O l d R o m a n c h a n t is m o r e o r n a t e . A f e w e x a m p l e s w i l l i l l u s t r a t e s o m e of t h e s i m i l a r i t i e s a n d d i f f e r e n c e s . Ex. VIII.3.1 is t h e c o m m u n i o n f o r t h e m a s s o n C h r i s t m a s E v e i n i t s O l d R o m a n a n d G r e g o r i a n v e r s i o n s . M o s t of t h e G r e g o r i a n v e r s i o n c a n b e s e e n as a r e c i t a t i o n a r o u n d F\ w i t h m o s t c a d e n c e s o n Z ) , a n d t h e m o r e o r n a t e O l d R o m a n v e r s i o n s e e m s to have t h e s a m e c e n t r e o f g r a v i t y . I n b o t h v e r s i o n s t h e s e c o n d p h r a s e r i s e s to a, t h i r d s t a r t s o n D a n d e n d s o n F. the T h e last p h r a s e is m o r e a d v e n t u r o u s , r i s i n g t o h i g h c

a n d f a l l i n g b a c k to Z ) , t h e n u p t o a a g a i n b e f o r e t h e final c a d e n c e . S o m e of t h i s is

E x . V I 1 1 . 3 . 1 . O l d R o m a n and G r e g o r i a n versions of c o m m u n i o n Rev elabitur gloria Domini ( R o m e , B i b l . A p . V a t . V a t . lat. 5319, fo. 10 ; M o n t p e l i i e r , F a c u l t e de M e d e c i n e H . 159, p. 26)
v

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entirely t y p i c a l for a c o m m u n i o n in this m o d e , but other features, h a n d l i n g of t h e last l i n e , s h o w a m o r e t h a n c a s u a l r e s e m b l a n c e versions.

p a r t i c u l a r l y the between the two

T h e O l d R o m a n v e r s i o n has m a n y m o r e n o t e s t h a n t h e G r e g o r i a n . It d o e s n o t h a v e as m a n y DF o r F-D l e a p s , a n d t h e y t e n d to o c c u r i n t h e l o n g e r m e l i s m a s . T h e w h o l e is less ' g a p p e d ' t h a n the G r e g o r i a n : it is t y p i c a l t h a t t h e O l d R o m a n v e r s i o n d e s c e n d s f r o m the h i g h c b y step. T h e m u s i c i a n w h o made this version u n d e r s t a n d s the phrase ends to be i n the same place, standard for Old Roman o n the s a m e n o t e s , (For a but marks them by parallel example, melismas, Hucke, communions. see

' G r e g o r i a n a n d O l d R o m a n C h a n t ' , NG> is i d e n t i c a l to E x . V I 1 1 . 3 . 1 i n b o t h

E x . 1, w h o s e e n d - p h r a s e ' s a l u t a r e d e i n o s t r i '

versions.)

I n m a n y p l a c e s t h e t w o v e r s i o n s are a l m o s t i d e n t i c a l , a n d t h e r e is e v i d e n t l y a c l o s e r e l a t i o n s h i p b e t w e e n t h e m . D e s p i t e t h e g r e a t e r p l a i n n e s s of t h e o n e , t h e v e r b o s i t y of t h e o t h e r , o n e w o u l d h e s i t a t e to say t h e O l d R o m a n w a s a d e c o r a t i o n of t h e G r e g o r i a n , o r t h e G r e g o r i a n a s i m p l i f i c a t i o n of t h e o t h e r . T h e y are r a t h e r t w o r e a l i z a t i o n s of t h e same basic idea, one i n a rather restrained, the other i n a m o r e florid idiom.

(iv) The

Graduals standard phrases seen i n G r e g o r i a n g r a d u a l s , tracts, and responsories have

c o u n t e r p a r t s i n the O l d R o m a n versions. R a t h e r t h a n cite w h a t w o u l d be a l e n g t h y e x a m p l e i n b o t h v e r s i o n s , I g i v e t h e O l d R o m a n v e r s i o n s of t w o v e r s e s f r o m g r a d u a l s of t h e s o - c a l l e d T u s t u s ut p a l m a ' t y p e . I n fact t h e g r o u p w o u l d h a v e t o h a v e n a m e i n t h e O l d R o m a n r e p e r t o r y , b e c a u s e Iustus in R o m e . g r a d u a l s A summo celo a n d Angelis ut palma I n E x . V I I I . 3 . 2 I g i v e the v e r s e s Celi enarrant five-phrase first, a n d In manibus another for the w a s n o t s u n g as a g r a d u a l

suis r e s p e c t i v e l y . T h e s e are t h r e e - p h r a s e v e r s e s . A verse i n E x . 1 1 . 5 . 1 : t h e t h r e e p h r a s e s i n which s e c o n d , a n d fifth p h r a s e s i n E x . I I . 5 . 1 ,

c o m p a r i s o n can be made w i t h the E x . V I I I . 3 . 2 c o r r e s p o n d to t h e e n d c/, a , a, as h e r e .

(v)

Antiphons

T h e s t a n d a r d G r e g o r i a n m e l o d i e s of t h e o f f i c e a n t i p h o n r e p e r t o r y h a v e t h e i r O l d R o m a n c o u n t e r p a r t s , a n d t h e v e r s i o n s are o f t e n c l o s e l y s i m i l a r n o t s u r p r i s i n g l y , i n v i e w o f t h e s i m p l i c i t y of the m e l o d i e s i n q u e s t i o n . m e l o d y (see N o w a c k i 1985, Valde honorandus est antiphons u s i n g the 246-7, Exx. 4-6). vere fratres Nowacki Here Nowacki has m a d e the i m p o r t a n t o b s e r v a t i o n that the t w o r e p e r t o r i e s d o n o t a l w a y s h a v e t h e s a m e s t a n d a r d E x . V I I I . 3 . 3 is a n e x a m p l e of t h i s : of a l a r g e f a m i l y o f The 65), equivalent Gevaert's has labelled D . 2 . L d i s c u s s i o n (AS a n d Si are t w o m e m b e r s in Frere's

melody which

m e l o d y i n t h e G r e g o r i a n r e p e r t o r y is la

t h e m e 6. I n t h e G r e g o r i a n t r a d i t i o n , h o w e v e r , Si vere fratres

has a d i f f e r e n t m e l o d y , a

p o p u l a r G - m o d e m e l o d y , V I I c i n F r e r e , G e v a e r t ' s t h e m e 2 3 . T h i s t o o is w e l l k n o w n

E x . V I I I . 3 . 2 . G r a d u a l verses Cell enarrant V a t . V a t . lat. 5319, fos. 7 , 41 )

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(vi)

Offertories

T h e O l d R o m a n o f f e r t o r i e s use t w o s t a n d a r d t y p e s of m a t e r i a l ( D y e r ' F o r m u l a ' A a n d B , K a h m e r ' S i n g w e i s e ' 1 a n d 2) i n a w a y w h i c h is not m a t c h e d i n the semitone step, f o u n d i n twenty-seven pieces, Gregorian same more r e p e r t o r y . F o r m u l a A is a m o n o t o n e o r d e c o r a t e d r e c i t a t i o n w h i c h h o v e r s a r o u n d the usually more than once i n the p i e c e . F o r m u l a B is a m o r e m o b i l e m e l o d i c p h r a s e , a n d c a n l i k e w i s e b e u s e d

E x . V I I I . 3 . 3 . A n t i p h o n s in O l d R o m a n and G r e g o r i a n versions ( R o m e , B i b l . A p . V a t . San P i e t r o B . 79, fos. 3 4 , 69 , 139 ; AS, 62, 142, 664)
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t h a n once i n the same o f f e r t o r y ; i n fact, some offertories consist of little m o r e t h a n r e p e t i t i o n s of t h i s s a m e b a s i c p h r a s e . B o t h f o r m u l a s a p p e a r i n p i e c e s i n a n y t o n a l i t y , t h o u g h o n e n o t i c e s t h a t t w e l v e of the t w e n t y - n i n e o f f e r t o r i e s w i t h F o r m u l a B h a v e a final o n F, t w o m o r e o n C . T h i s is b e c a u s e F o r m u l a B i t s e l f is s t r o n g l y F - o r i e n t a t e d . N o t s u r p r i s i n g l y , s o m e o f the G r e g o r i a n v e r s i o n s o f O l d R o m a n o f f e r t o r i e s F o r m u l a B have an F final. f r o m t h e o f f e r t o r y Benedic anima mea i n E x . V I 1 1 . 3 . 4 is t h e verse Qui propitiatur with

its O l d R o m a n a n d G r e g o r i a n v e r s i o n s . T h e o f f e r t o r y r e s p o n d e n d s o n D i n t h e O l d

E x . V I I 1 . 3 . 4 . O l d R o m a n and G r e g o r i a n versions of offertory verse Qui propitiatur (Rome B i b l . A p . V a t . V a t . lat. 5319, fo. 4 7 ; M o n t p e l l i e r , Faculte de M c d e c i n e II. 159, p. 261)
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R o m a n , o n F i n t h e G r e g o r i a n v e r s i o n , w h i l e b o t h v e r s i o n s of the v e r s e e n d w i t h an i m p e r f e c t c a d e n c e , as it w e r e , o n G , a f t e r b e i n g s t r o n g l y F - o r i e n t a t e d . T h e f o r m u l a i c m a k e - u p of t h e O l d R o m a n v e r s i o n is q u i t e c l e a r ( m a r k e d i n t h e e x a m p l e ) . T h e t w o phrases w h i c h u s u a l l y m a k e u p the f o r m u l a appear i n the order a b - a b - a - a b . As u s u a l , t h e a c c e n t u a t i o n of t h e t e x t g o v e r n s t h e w a y t h e f o r m u l a is u s e d . I n t h i s case it m a k e s n o s e n s e t o a l i g n t h e t w o v e r s i o n s . T h e G r e g o r i a n v e r s i o n is set o u t w i t h the s a m e l i n e d i v i s i o n s as t h e O l d R o m a n , b u t t h e r e is n o c o r r e s p o n d i n g r e p e t i t i o n of f o r m u l a s . T h e m e l o d y p u s h e s c o n s t a n t l y u p to c\ r e p e t i t i o n of s m a l l m o t i f s is t h e r e , b u t t h e v o c a b u l a r y as w e l l as t h e f o r m is d i f f e r e n t f r o m t h e O l d R o m a n .

E x . V I I I . 3 . 5 is t h e v e r s e Ouoniam v e r s i o n e n d s o n a, cs o r ca

angelis

suis

f r o m t h e o f f e r t o r y Scapulis

suis

( e n d i n g / : i n t h e O l d R o m a n , G i n t h e G r e g o r i a n v e r s i o n ) . I n t h i s case t h e O l d R o m a n t h e G r e g o r i a n o n G , j u s t as i n E x . V I I I . 3 . 4 . T h e o r n a t e r e c i t a t i o n repeated of t h e O l d R o m a n v e r s i o n is to s o m e e x t e n t m a t c h e d i n t h e G r e g o r i a n , i n the oscillations. like the G r e g o r i a n , o c c a s i o n a l l y have l o n g m e l i s m a s . t e x t of t h e s e v e r s i o n s , a n d the frequent lack of T h e O l d R o m a n offertories, Despite the difference

H e r e the t w o versions again diverge strongly. i n the u n a n i m i t y i n c h o i c e of v e r s e ( s ) ( w h i c h is c h a r a c t e r i s t i c of t h e G r e g o r i a n t r a d i t i o n as a w h o l e ) t h e t e x t t r a d i t i o n is i n o n e i m p o r t a n t r e s p e c t l a r g e l y u n a n i m o u s : t h e u n u s u a l f e a t u r e of t e x t r e p e t i t i o n is c o m m o n to b o t h O l d R o m a n a n d G r e g o r i a n offertories

E x . V I 1 1 . 3 . 5 . O l d R o m a n and G r e g o r i a n versions of verse Ouoniam angelis f r o m offertory Scapulis suis ( R o m e B i b l . A p . V a t . V a t . lat. 5319, fo. 4 3 ; M o n t e p e l l i e r , F a c u l t e de M e d e c i n e H . 159, p . 295)
r

Old Roman

/i>
Quo-ni

fl> am

fm>

-f^Y
su-is

an - ge - lis

P P P
ut

man

da - uit

de

ft ft
cus-to - di-am te

ft
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ft

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&^*9*9l
tu is.

Gregorian

Quo - ni - am

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su-

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te

ut custo-

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te

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ad

la-

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dem

pe - dem t u -

-urn

( t h o u g h not f o u n d i n the above examples), and occurs nearly always i n the places.

same

(vii)

Alleluias

T h e o r n a m e n t e d r e c i t a t i o n figure of t h e o f f e r t o r i e s ( ' F o r m u l a A ' , E x . V I I I . 3 . 5 ) is also to be f o u n d i n s o m e O l d R o m a n a l l e l u i a s . T h e r e are v e r y f e w O l d R o m a n a l l e l u i a m e l o d i e s o n l y f o u r are u s e d w i t h a n y f r e q u e n c y : o n e i n D , o n e i n E , a n d t w o i n G , of w h i c h o n e is t h e m e l o d y of t h e a l l e l u i a s s u n g at V e s p e r s i n E a s t e r W e e k . T h i s g r a n d series of E a s t e r a l l e l u i a s , s o m e w i t h G r e e k t e x t s a n d s o m e w i t h L a t i n , h a s a t t r a c t e d c o n s i d e r a b l e c o m m e n t , b o t h f r o m A m a l a r i u s of M e t z i n t h e n i n t h c e n t u r y a n d f r o m m o d e r n writers (most recently Smits van Waesberghe
#

1966,

Stablein in M M M A

2,

8 4 * - 1 4 0 , v a n D i j k 1 9 6 9 - 7 0 ) . S o m e of t h e v e r s e s are d i v i d e d i n t o t w o p a r t s . I n t h e first p a r t , a r e c i t a t i o n i n s u n g o n c w i t h f r e q u e n t t o r c u l i cdc. T h e n t h e s e c o n d h a l f is the t o r c u l u s ' a n n o u n c e d ' b e f o r e b e i n g s u n g to a d i f f e r e n t r e c i t a t i o n w i t h t o r c u l i bca, Alleluia Paraturn cor meum. Paraturn cor meum ( R o m e , B i b l . A p , V a t . V a t . lat. 5319,

w e h a v e j u s t s e e n i n t h e o f f e r t o r y ( E x . V I I I . 3 . 5 ) . E x . V I I I . 3 . 6 g i v e s t h e first v e r s e of

Ex. VIII.3.6. fo. 89 )

v

F i r s t verse of Alleluia

Pa - ratum cor m e - u m

De-

-us

pa - ra-tum cor

me-

it}

i ^
0

ft -ta

ft - bo et

ft

ft

ft

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** do

C a n - t a - bo.

Can-

psalmum d i -

T h e r e are m e a g r e p e r f o r m a n c e r u b r i c s i n t h e o n l y t w o m u s i c a l s o u r c e s , V a t i c a n 5 3 1 9 a n d L o n d o n 2 9 9 8 8 (see t h e f a c s i m i l e s i n NG i . 488 a n d t h i s b o o k , P l a t e 13). T h e s e i n d i c a t e t h a t t h e p r i m i c e r i i ( l e a d e r s of t h e c h o i r ) s a n g t h e ' a n n o u n c e m e n t s ' a n d t h e s c h o l a t o o k u p t h e rest of t h e v e r s e , p r e s u m a b l y s i n g i n g t h e first p a r t . T h e l e n g t h y d e s c r i p t i o n of t h e c e r e m o n y a l l e l u i a , Alleluia Dominus in O r d o Romanus X X V I I , decorem (Andrieu i n p a r t i c u l a r of t h e first regnavit 1 9 3 1 - 6 1 , i i i . 363), Dominus regnavit allowed decorem

S m i t s v a n W a e s b e r g h e to r e c o n s t r u c t a m o r e i m p o s i n g t y p e of p e r f o r m a n c e , as m i g h t h a v e b e e n w i t n e s s e d i n late e i g h t h - c e n t u r y R o m e . Alleluia alleluia after the verse(s), e q u i v a l e n t to t h e melodiae s h a r e s o n e m o r e p e c u l i a r i t y w i t h o t h e r O l d R o m a n a l l e l u i a s : a n e x t e n d e d r e p e a t of t h e called in O r d o Romanus X X V I I the ' a l l e l u i a s e c u n d a ' , of t h e M i l a n e s e a l l e l u i a r e p e r t o r y b u t o n l y r a r e l y f o u n d i n p r i m u s scholae c u m parafonistis i n f a n t i b u s parafonistae viriles subdiaconus c u m infantibus

the G r e g o r i a n . T h e f u l l p e r f o r m a n c e a p p e a r s to h a v e b e e n s o m e t h i n g l i k e t h i s : A l l e l u i a (4- j u b i l u s ? ) Alleluia ( + jubilus?) Alleluia + jubilus

Verse 1* A l l e l u i a (4- j u b i l u s ? ) Anouncement Verse 2, part 1 Announcement Verse 2, part 2 Alleluia (4 jubilus?)

subdiaconus c u m i n f a n t i b u s parafonistae viriles parafonistac parafonistae parafonistae parafonistae viriles infantes viriles infantes

parafonistae viriles parafonistae parafonistae parafonistae parafonistae viriles infantes viriles infantes

Announcement Verse 3, part 1 Announcement Verse 3, part 2 Request to a r c h d e a c o n * * A l l e l u i a secunda Alleluia 4 jubilus
same music as announcement

p r i m u s scholae p r i m u s scholae c u m pafafonistis i n f a n t i b u s parafonistae viriles

*not sung with the recitation formulas and announcements of verses 2 and 3

( v i i i ) Oral Several

Tradition have pointed out that the Old Roman sources are often in

writers

disagreement

o v e r m e l o d i c details. I n p a r t i c u l a r C u t t e r (1967, ' O r a l ' ) has s h o w n

n u m e r o u s cases of d i v e r g e n c e . N o w a c k i ' s d e m o n s t r a t i o n ( 1 9 8 5 ) o f h o w c h a n g e s m a y h a v e c o m e a b o u t i n t h e a s s i g n m e n t of t y p i c a l m e l o d i e s to p a r t i c u l a r a n t i p h o n t e x t s is a n o t h e r a s p e c t of t h e c o n t i n u i n g o r a l t r a d i t i o n i n R o m e . H u c k e ( 1 9 5 5 , ' G r e g o r i a n ischer') h a d already r e a l i z e d that i n s o m e g r a d u a l s a g e n e r a l l y v e r y s y s t e m a t i c a l l y o r g a n i z e d g r o u p t h e G r e g o r i a n s o u r c e s t r a n s m i t t e d a f r o z e n , a r c h a i c state w h i l e t h e O l d R o m a n o n e s s h o w e d e v i d e n c e of f u r t h e r s t y l i z a t i o n . M o r e s u r p r i s i n g is t h e w i d e d i s a g r e e m e n t w h i c h D y e r ( 1 9 8 9 , ' S i n g i n g ' ) h a s s h o w n to h a v e e x i s t e d b e t w e e n the two O l d R o m a n a n t i p h o n e r s i n t h e i r r e p e r t o r y and a s s i g n m e n t of p s a l m t o n e s . T h e y h a v e o v e r 100 b e t w e e n t h e m a p r o d i g a l i t y w h i c h D y e r a s s o c i a t e s w i t h t h e s u r v i v a l of s o l o p s a l m o d y i n R o m e b u t o n l y h a l f are f o u n d i n b o t h s o u r c e s . ( T h e r e is n o o b v i o u s e i g h t - t o n e , e i g h t - m o d e s y s t e m . ) A l l this disagreement s u g g e s t s t h a t t h e s o u r c e s w e r e n o t a t e d i n t h e m i d s t of a c o n t i n u i n g t r a d i t i o n of oral t r a n s m i s s i o n a n d p e r f o r m a n c e . I n m a n y respects the O l d R o m a n t r a d i t i o n , e v e n o n t h e eve of its s u p p r e s s i o n i n t h e t h i r t e e n t h c e n t u r y , n e v e r r e a c h e d t h e d e g r e e of w r i t t e n fixity i n d i c a t e d i n s o u r c e s of G r e g o r i a n c h a n t . T h i s is i m p o r t a n t f o r o u r a s s e s s m e n t of t h e r e l a t i o n s h i p b e t w e e n t h e O l d R o m a n m u s i c as w e first see it i n t h e e l e v e n t h c e n t u r y , G r e g o r i a n c h a n t as w e first find it i n t h e s o u r c e s f r o m a r o u n d 9 0 0 , a n d R o m a n c h a n t as it m i g h t h a v e b e e n k n o w n t o t h e F r a n k s i n t h e later eighth c e n t u r y . M u c h m o r e c o u l d ( a n d has b e e n ) s a i d a b o u t t h e i n t e r r e l a t i o n s h i p b e t w e e n p a r t i c u l a r i t e m s a n d b e t w e e n p a r t s of t h e r e p e r t o r y i n t h e i r O l d R o m a n a n d G r e g o r i a n v e r s i o n s

(the

reader

is r e f e r r e d

e s p e c i a l l y to t h e

p e n e t r a t i n g essays b y

H u c k e ) . Before

s u m m i n g u p of t h e m a t t e r is a t t e m p t e d , t h e o t h e r O l d I t a l i a n r e p e r t o r i e s w i l l b r i e f l y be d i s c u s s e d .

VIII.4.

O L D I T A L I A N

C H A N T

II:

M I L A N

P a l M u s 5 - 6 ; G a t a r d , ' A m b r o s i e n (chant)' (DACL)\ Cattaneo 1950; H u c k e 1956; Jesson i n A p e l 1958, 4 6 5 - 8 3 ; W e a k l a n d , ' M i l a n e s e R i t e , C h a n t s o f , NCE; Baroffio i n F e l l e r e r 1972, 1 9 1 - 2 0 4 ; Baroffio ' A m b r o s i a n R i t e , M u s i c of the', NG; H e i m i n g 1978. T h e M i l a n e s e ( o r A m b r o s i a n ) r i t e is r e l a t e d t o , b u t i n m a n y r e s p e c t s f u n d a m e n t a l l y different f r o m , the Roman. The chief differences i n the n u m b e r and nature of i m p o r t a n t chants have already b e e n n o t e d ( V I . 4 - 5 ) . D e s p i t e the f r e q u e n t i n c o m p a t a b i l i t y of t h e t w o r i t e s , s o m e R o m a n c h a n t s w e r e a d o p t e d i n M i l a n (see H u c k e 1 9 5 6 ) , a n d t h i s a l l o w s a c e r t a i n a m o u n t of c o m p a r a t i v e m u s i c a l a n a l y s i s . It h a r d l y n e e d s s a y i n g t h a t t h e l i t u r g y a n d its c h a n t i n o u r m e d i e v a l s o u r c e s c a n n o t b e e x a c t l y s e e m s p o s s i b l e , h o w e v e r , t h a t f o u r h y m n s b y h i m h a v e s u r v i v e d (see Stablein, ' A m b r o s i u s ' , A / G G , Cattaneo largely o n t w o sources 1950). depends century eleventh 11.15; that It also k n o w n to S t A m b r o s e ( d . 3 9 7 ) , w h o s e n a m e has b e e n g i v e n to b o t h r i t e a n d c h a n t .

O u r k n o w l e d g e of t h e M i l a n e s e l i t u r g y i n its f u l l m e d i e v a l s p l e n d o u r e d i t e d b y M a g i s t r e t t i : a m a n u a l of t h e

c o n t a i n i n g the texts of the c o m p l e t e l i t u r g y ( M a g i s t r e t t i 1 9 0 4 - 5 ) , a n d an o r d i n a l c o m p i l e d a b o u t 1125 b y t h e c l e r k B e r o l d u s ( M a g i s t r e t t i 1 8 9 4 ) . T h e r e are s u m m a r i e s b y L e j a y ( ' A m b r o s i e n ( r i t ) ' , DACL), P a r e d i ( ' M i l a n e s e r i t e ' , NCE), K i n g ( 1 9 5 7 , Primatial, 2 8 7 - 4 5 6 , for the mass), and Borella (1964).

T h e c h a n t of t h e M i l a n e s e r i t e is t h e o n l y L a t i n n o n - R o m a n m e d i e v a l r e p e r t o r y to s u r v i v e i n r e a s o n a b l y c o m p l e t e state i n t r a n s c r i b a b l e n o t a t i o n . R e p o r t s of a t t e m p t s t o s u p p r e s s it at v a r i o u s t i m e s i n t h e M i d d l e A g e s a p p e a r to be l e g e n d a r y . F o r e x a m p l e , i n t h e e l e v e n t h c e n t u r y t h e M i l a n e s e c h r o n i c l e r L a n d u l p h u s (De sacramentary ritibus ecclesiasticis opened 2 . x - x i i , P L 147. 8 5 5 ) s a i d t h a t C h a r l e m a g n e h a d h a d a n A m b r o s i a n a n d a G r e g o r i a n p l a c e d s i d e b y s i d e o n t h e a l t a r . B y the w i l l of G o d , b o t h s i m u l t a n e o u s l y , p r o v i n g that b o t h were equally authoritative. M i l a n e s e c h a n t s u r v i v e s i n a l a r g e n u m b e r of m a n u s c r i p t s ( d e s c r i b e d b y H u g l o et al. 1956), of which the earliest date from the eleventh century. The earliest and c o m p r e h e n s i v e s o u r c e s are of t h e t w e l f t h c e n t u r y : 1. t h r e e c h a n t - b o o k s for the w i n t e r season (Milanese books combine mass office a n d d i v i d e w i n t e r f r o m s u m m e r M i l a n , B i b l i o t e c a capitolare F . 2. 2; the ' V a r e s e E r e d i B i a n c h i ' m a n u s c r i p t , p r i v a t e l y o w n e d ; 2. o n e f o r t h e s u m m e r s e r v i c e s : Bedero di V a l Travaglia, San Vittore B. services):

L o n d o n , B r i t i s h L i b r a r y , A d d . 34209 (facsimile and t r a n s c r i p t i o n P a l M u s 5 - 6 ) ;

The

w r i t t e n m u s i c a l t r a d i t i o n of M i l a n e s e chant, of t h e seventeenth century,

l i k e t h a t of O l d R o m a n reforms of S t

chant, Charles

t h e r e f o r e b e g i n s c o n s i d e r a b l y l a t e r t h a n t h a t of G r e g o r i a n . A n i n t e r e s t i n g g u i d e to t h e M i l a n e s e chant reflecting the B o r r o m e o , was w r i t t e n by Perego and vespers respectively, (1622). missarum ( 1 9 3 5 ) a n d Liber vesperalis (tracts) antiphon

T w o m o d e r n s e r v i c e - b o o k s e d i t e d b y S u n o l c o n t a i n e d i t i o n s of t h e m u s i c f o r m a s s t h e Antiphonale ( 1 9 3 9 ) . T h e s e d o n o t a l w a y s reflect m e d i e v a l p r a c t i c e . A n e q u i v a l e n t v o l u m e f o r t h e m o r n i n g s e r v i c e d i d n o t a p p e a r . C r i t i c a l e d i t i o n s of t h e a l l e l u i a s a n d c a n t u s have been made by Bailey ( 1 9 8 3 , Alleluias, 1987) and the complete

r e p e r t o r y has b e e n i n d e x e d , e d i t e d , a n d c l a s s i f i e d a c c o r d i n g t o m e l o d i c t y p e b y B a i l e y a n d M e r k l e y ( 1 9 8 9 , 1 9 9 0 ) . A s u r v e y of the m a s s c h a n t s as a w h o l e w a s m a d e b y J e s s o n (1955) , a n d s u m m a r y accounts of the c o m p l e t e r e p e r t o r y h a v e b e e n m a d e b y J e s s o n ( i n A p e l 1958, 4 6 5 - 8 3 ) a n d B a r o f f i o ( ' A m b r o s i a n R i t e , M u s i c o f t h e ' , NG). S t u d i e s of t h e p s a l m t o n e s h a v e b e e n m a d e b y B a i l e y ( 1 9 7 7 , 1 9 7 8 ) , of t h e o f f e r t o r i e s b y B a r o f f i o ( 1 9 6 4 ) , a n d H u c k e has c o m p a r e d G r e g o r i a n , O l d R o m a n , a n d M i l a n e s e g r a d u a l s ( 1 9 5 6 ) . T h e r e are s t u d i e s of the ' r e s p o n s o r i a c u m i n f a n t i b u s ' b y M o n e t a C a g l i o ( 1 9 5 7 ) and Bailey (1988). Rite, Multiple Music of versions the', of t h e (For antiphons further 1978 of t h e surveys ferial office recent were published 'Ambrosian research.) in parallel by Claire (1975). b i b l i o g r a p h y see Baroffio, liturgical

A^G; Heiming

T h e s i m p l e p s a l m o d y of t h e M i l a n e s e o f f i c e w a s n o t o r g a n i z e d a c c o r d i n g to a n e i g h t mode/eight-tone early sources, s y s t e m . T h e c o m p l i c a t e d s y s t e m i n t h e m o d e r n Liber of which only twenty-seven were commonly used, vesperalis, and these w i t h o v e r 150 d i f f e r e n t c a d e n c e s , is n o t a u t h e n t i c . B a i l e y f o u n d o n l y s i x t y - n i n e i n t h e corresponded w i t h relatively few exceptions m o d a l lines by the F r a n k s . U n t i l r e l i a b l e e d i t i o n s f r o m t h e e a r l y s o u r c e s a n d a n a l y s e s of t h e d i f f e r e n t g e n r e s have been c a r r i e d out, o n l y general r e m a r k s about m u c h of the office r e p e r t o r y are p o s s i b l e . N o n e of t h e l a r g e r a n t i p h o n t y p e s has b e e n i n v e s t i g a t e d , s u c h as t h e l o n g m o r n i n g ' a n t i p h o n a ad c r u c e m ' , the e v e n i n g ' a n t i p h o n a i n c h o r o ' , a n d the n u m e r o u s s i m p l e r p s a l l e n d a e . D i s c u s s i o n of t h e r e s p o n s o r y r e p e r t o r y has c o n c e n t r a t e d o n the e l a b o r a t e m e l i s m a s i n r e p e a t f o r m of t h e ' r e s p o n s o r i a c u m i n f a n t i b u s ' o r ' c u m p u e r i s ' . M u c h f u n d a m e n t a l w o r k r e m a i n s t o be d o n e . It is c l e a r , f o r e x a m p l e , t h a t t h e v a r i o u s t y p e s of r e s p o n s o r y ('post h y m n u m ' a n d ' a d l e c t i o n e m ' i n t h e m o r n i n g , ' i n c h o r o ' a n d ' i n baptisterio' i n the evening) use t y p i c a l m e l o d i e s a n d verse f o r m u l a s , w i t h i n each genre a n d as a l a r g e r g r o u p , t h o u g h less u n v a r y i n g l y t h a n t h e final has i n the r e s p o n s o r y . B u t n o s y s t e m a t i c noted instances of recurrent Gregorian office been r e s p o n s o r i e s , a n d w i t h a n u m b e r of i r r e g u l a r i t i e s i n t h e m a t c h i n g of a p a r t i c u l a r v e r s e t o n e to a p a r t i c u l a r published. Jesson analyses have in the formulas psalmelli to the t h i r t y chief a n t i p h o n melodies

u s e d . T h i s s u g g e s t s a p o s s i b l e m o d e l f o r t h e R o m a n s y s t e m b e f o r e it w a s o r g a n i z e d o n

( g r a d u a l s ) . B a i l e y h a s e d i t e d a n d a n a l y s e d a l l t h e c a n t u s ( t r a c t s ) a n d s h o w n t h a t a l l are

elaborations of t h e same t y p e - m e l o d y , related to the O l d R o m a n a n d O l d B e n e v e n t a n melodies, w h i c h indicates a c o m m o n the O l d Roman offertoriesis parentage. o r f o r m u l a s to A f o r m a l p e c u l i a r i t y of m a n y M i l a n e s e c h a n t s w e have seen s o m e t h i n g like it i n t h e r e p e t i t i o n of m u s i c a l p h r a s e s g e n e r a t e t h e m u s i c f o r l o n g e r v e r s e s . T h i s i s t o b e f o u n d , as J e s s o n p o i n t s o u t , i n n u m e r o u s n o n - r e s p o n s o r i a l chants of m a s s : ingressae ( i n t r o i t s ) , t h e 'post e v a n g e l i u n V a n t i p h o n s , a n d e s p e c i a l l y t h e t r a n s i t o r i a ( c o m m u n i o n s : see t a b l e i n J e s s o n 1 9 5 5 , 1 0 4 ) . T h e t r a n s i t o r i u m Te laudamus, T h e t r a n s i t o r i u m Gaude et letare f o r e x a m p l e , uses t h e s a m e m u s i c s i x t i m e s over ( J e s s o n 1 9 5 8 , 4 7 8 ) . T h e r e is g r e a t v a r i e t y i n t h e d e g r e e o f o r n a t e n e s s i n t h e s e p i e c e s . ( P a l M u s 5 , 6 3 , P a l M u s 6, 7 2 ) , f o r e x a m p l e i n t h e simple form A A B A A B C i s l a r g e l y s y l l a b i c , w i t h a c o a t i n g of t h e l i t t l e c u r l i c u e omnes, o n t h e o t h e r h a n d , is phrase of text. In

o r n a m e n t s ( o f t e n a p e s s u b b i p u n c t u s ) b e l o v e d of t h e M i l a n e s e s i n g e r s . T h e s p l e n d i d t r a n s i t o r i u m f o r t h e S e p t u a g e s i m a S u n d a y Convertimini heavily decorated ornamental figures a n d includes a lengthy melisma i n the are o m n i p r e s e n t : final

E x . V I 1 1 . 4 . 1 it is set o u t i n a w a y w h i c h m a k e s c l e a r t h e r e p e a t s t r u c t u r e . A s u s u a l , the torculus subpunctis (pes s u b b i p u n c t i s ) appears three t i m e s i n t h e A - p h r a s e , t w i c e i n C , t w i c e i n D , a n d so o n . M e l i s m a s w i t h r e p e a t s t r u c t u r e are t o b e f o u n d i n m a n y g e n r e s o f M i l a n e s e c h a n t : the psalmellus (gradual), alleluia, and offerenda a n d ' i n baptisterio' at m a s s , the office responsory. These some scheme P e r h a p s the best k n o w n are those to b e f o u n d i n some office responsories, u s u a l l y the responsories 'ad lectionem, of the m o r n i n g service. elaborate chants, of w h i c h M o n e t a C a g l i o (1957) listed forty, often carry the r u b r i c ' c u m p u e r i s ' o r ' c u m i n f a n t i b u s ' . S o m e h a v e o n e l o n g m e l i s m a , o r melodiae, h a v e t w o , t h e melodiae appears to be that primae a n d melodiae secundae. T h e performance rite usual i n responsorial practice i n the R o m a n

(see 1 1 . 4 ) ,

w h e r e t h e r e s p o n s o r y i s s u n g t w i c e at t h e b e g i n n i n g a n d a g a i n c o m p l e t e at t h e e n d , b u t it i s c o n c e i v a b l e t h a t t h e r e p e t i t i o n s w e r e m o r e n u m e r o u s o n t h e h i g h e s t f e a s t s . A m e l i s m a m a y a p p e a r w i t h i n t h e v e r s e ( u s u a l l y o n o n e of t h e last s y l l a b l e s ) . I t s p r i m a r y p u r p o s e w a s t o e n h a n c e t h e f r e q u e n t r e p e t i t i o n s of t h e r e s p o n s o r y . T h e u s u a l p l a c e f o r t h e melodiae various sections, primae w a s t h e p a r t i a l repeat o f t h e r e s p o n s o r y . T h e s e c o n d m e l i s m a in full. B y is f o r t h e r e p e a t o f t h e w h o l e r e s p o n s o r y . It i s n o t a l w a y s c l e a r w h o s h o u l d s i n g t h e f o r the early manuals d o not specify the arrangement analogy w i t h o t h e r s u c h pieces o n e m i g h t suggest t h e f o l l o w i n g (the practice n o d o u b t v a r i e d f r o m feast t o f e a s t ) : responsory responsory responsory verse r e s p o n s o r y s e c o n d p a r t w i t h melodiae responsory r e s p o n s o r y w i t h melodiae secundae soloist magister and boys schola soloist primae m a g i s t e r a n d b o y s schola magister and boys

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If t h i s s e e m s e x c e s s i v e l y e l a b o r a t e , it i s r e l a t i v e l y m o d e s t i n c o m p a r i s o n w i t h t h e s i n g i n g o f t h e a l l e l u i a at m a s s o n Q u a d r a g e s i m a S u n d a y , t h e d a y o f t h e ' f a r e w e l l t o t h e a l l e l u i a ' b e f o r e L e n t ( r e c o n s t r u c t e d b y B a i l e y 1 9 8 3 , Alleluias, alleluia (twice) alleluia (twice) verse alleluia a l l e l u i a w i t h melodiae a l l e l u i a w i t h melodiae a l l e l u i a w i t h francigenae Moneta melodiae. for chants Caglio listed forty 'responsoria reassignments of mass alleluias. A m o n g primae secundae 25). four boys (in ambo) lectors ( i n choir) lectors four boys (in ambo) lectors f o u r boys (altar steps) four boys (in choir) c u m i n f a n t i b u s ' , of w h i c h fifteen f o u r are sets of these h e i d e n t i f i e d s o m e

B a i l e y ' s s t u d y ( 1 9 8 8 ) m a k e s it c l e a r that t h e y w e r e f r e q u e n t l y r e - e m p l o y e d other than their original 'mother' chant. T h e putative o r i g i n c a n be which they replace a n d w h i c h are u s u a l l y b u i l t u p t h r o u g h a p r o c e s s

r e d i s c o v e r e d b y a n a l y s i n g t h e melodiae, e n h a n c e . W h e n melodiae secundae

of e l a b o r a t e d r e p e t i t i o n of t h e s e c t i o n of m o t h e r c h a n t t h e g e r m c e l l . S i x s u c h sets o f melodiae f o u r t h S u n d a y i n A d v e n t , Sperent

are p r e s e n t , t h e y w i l l b e a f u r t h e r e l a b o r a t i o n o f c a n b e d i s c e r n e d . E x . V I I I . 4 . 2 s h o w s o n e of

t h e s h o r t e r e x a m p l e s , t h e r e s p o n s o r y ' i n b a p t i s t e r i o ' at t h e m o r n i n g s e r v i c e o f t h e in te ( f o r a d i f f e r e n t w a y of s e t t i n g o u t t h e m e l i s m a see B a i l e y 1 9 8 8 ) . T h e s e c o n d p h r a s e of t h e r e s p o n d h a s t h e s a m e m u s i c as t h e s e c o n d p h r a s e o f t h e v e r s e , s o t h a t a r e p e a t of t h e r e s p o n d f r o m t h e t h i r d p h r a s e s e e m s l o g i c a l . It i s i n t h i s p h r a s e t h a t t h e melodiae are s u n g . T h e melodiae b e g i n w i t h ' Q u e r e n t e s te' ( A ) a n d e n d w i t h ' d o m i n e ' ( X Y Z ) , as i n t h e r e s p o n d . I n b e t w e e n c o m e f o u r p h r a s e s . I h a v e m a r k e d t h e m w i t h l e t t e r s to s h o w t h e i r r e l a t i o n s h i p t o e a c h o t h e r a n d t o t h e mother phrase 'Querentes i n te': A QR A-OPQR-W A-PQR-Q A-PQR A X Y Z T h e A p h r a s e s are w a y s o f g e t t i n g u p to c
y

the tonal centre of the m e l i s m a . T h e

r e p e a t s w i t h i n t h e m e l i s m a a r e c l e a r e n o u g h . W is a p e n d a n t t o t h e b o d y o f t h o s e repeated phrases. If B a i l e y is r i g h t , O P Q R s h o u l d therefore d e r i v e f r o m X Y , Z b e i n g a final c a d e n t i a l flourish. A n d i n d e e d t h i s s e e m s to b e t h e case, e x c e p t t h a t O i s a m e l o d y , o n l y several p l a u s i b l e ones. p r e l i m i n a r y p h r a s e , Q a n i n t e r n a l e x t e n s i o n . O f c o u r s e , t h e r e is n o o n e r i g h t w a y t o analyse s u c h a freely flowing T h e a l l e l u i a s s h o w i m p r o v i s a t o r y m e l o d i c g e n e r a t i o n of a d i f f e r e n t k i n d , w h e r e , as B a i l e y has s h o w n , the l o n g e r repeated sections c a n themselves be b r o k e n d o w n into s m a l l c e l l s o f t e n f o l l o w i n g a r e p e a t s c h e m e : a a b b c c , a n d so o n . T h e M i l a n e s e a l l e l u i a r e p e r t o r y is s m a l l . T h e r e are t e n alleluia melodies a n d ten verse t y p e s . B u t since t w o of t h e t e n m e l o d i e s a r e m u s i c a l l y r e l a t e d to o t h e r s , t h e r e m a y o n c e h a v e b e e n o n l y e i g h t . M o s t of t h e v e r s e t y p e s are r e l a t e d to t h e a l l e l u i a m e l o d i e s . E a c h of t h e a l l e l u i a s h a s at least o n e melodiae v e r s e . T h r e e of t h e m h a v e melodiae primae e x i s t i n t h e s h a p e of t h e ' [ m e l o d i a e ] for the e x t e n d e d repeat after the secundae. Melodiae tertiae a n d melodiae

Francigenae', s o m e t i m e s s u p p o s e d to be of

E x . V I 1 1 . 4 . 2 . R c s p o n s o r i u m c u m infantibus Sperent in te ( L o n d o n , B r i t . L i b . A d d . 34209, p. 22)

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m e l o d i a e of A l l e l u i a V I ( o r i g i n a l l y a n A d v e n t a l l e l u i a w i t h verse Venite). a s t e r i s k s s h o w w h e r e p h r a s e s f r o m t h e o t h e r a l l e l u i a are left o u t .

d e r i v e d f r o m t h e m o t h e r a l l e l u i a are m a r k e d w i t h a n a s t e r i s k ; b r a c k e t s b e t w e e n t h e

E x . V I I I . 4 . 3 . Melodiae

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i n t h e i r present f o r m m a y b e , just Is t h e h a b i t of s i n g i n g

e x t e n d e d r e p e a t s a f t e r t h e a l l e l u i a verse i n s o m e w a y O l d I t a l i a n ? B u t it i s f o u n d i n O l d S p a n i s h c h a n t as w e l l . I s it o l d e n o u g h t o b e a p o s s i b l e m o d e l f o r t h e F r a n k i s h sequence? D i d t h e F r a n k i s h sequence d e r i v e f r o m ( n o w lost) G a l l i c a n alleluias of this T h e r e is c o m m o n m e l o d i c g r o u n d b e t w e e n the M i l a n e s e alleluias, t h e i r O l d I t a l i a n counterparts i n R o m e a n d Benevento, and, presumably through R o m e , the G r e g o r i a n m e l o d i e s . B a i l e y b e l i e v e s a l l t e n M i l a n e s e a l l e l u i a s are r e l a t e d t o O l d R o m a n a n d G r e g o r i a n ones, a n d that the t w o c o m p l e t e l y s u r v i v i n g O l d Beneventan melodies c a n b e m a t c h e d as w e l l . M i l a n e s e c h a n t , as w i l l h a v e b e c o m e c l e a r , is o f t e n e x t r e m e l y o r n a t e . T h i s o f t e n m e a n s t h a t p o s s i b l e cases o f i d e n t i t y b e t w e e n M i l a n e s e a n d o t h e r c h a n t s are d i f f i c u l t t o assess, e s p e c i a l l y w h e n c o m p a r i n g t h e o t h e r o r n a t e O l d I t a l i a n r e p e r t o r i e s . I s o n e c o m p a r i n g ' e s s e n t i a l ' n o t e s o r p i c k i n g o u t d e t a i l s of l i t t l e r e a l s i g n i f i c a n c e ? A b a s i s f o r

c o m p a r i s o n d o e s exist i n a n u m b e r of c h a n t s w h i c h M i l a n a p p e a r s t o h a v e b o r r o w e d f r o m R o m e a n d w h i c h can sometimes R o m a n and Gregorian, O l d Beneventan b e f o u n d i n as m a n y as f o u r v e r s i o n s : O l d a n d M i l a n e s e . ( Q u i t e often the same piece between Gregorian and

w i l l a p p e a r w i t h d i f f e r e n t l i t u r g i c a l f u n c t i o n s i n t h e d i f f e r e n t t r a d i t i o n s . W e l l o v e r 100 m a s s c h a n t s w i t h at least p a r t i a l m e l o d i c c o r r e s p o n d e n c e M i l a n e s e t r a d i t i o n s are l i s t e d b y J e s s o n 1 9 5 5 . ) P e c u l i a r i t i e s i n t h e h a n d l i n g o f f o r m u l a s , a n d s o m e cases o f v e r y c l o s e l y s i m i l a r m e l o d i c readings, have l e d H u c k e (1956) to believe that for those M i l a n e s e g r a d u a l s of m o d e 2 that have G r e g o r i a n a n d O l d R o m a n parallels t h e M i l a n e s e v e r s i o n derives f r o m t h e G r e g o r i a n , n o t t h e O l d R o m a n v e r s i o n . It s e e m s l i k e l y t h a t t h i s is t h e case w i t h other b o r r o w i n g s . Ex. VII1.4.4 gives parallel versions of the introit/ingressa Invocavit me f o r Quadragesima Sunday, f r o m the Gregorian, O l d R o m a n , and Milanese tradition. T h e M i l a n e s e v e r s i o n h a s a n ' a l l e l u i a ' p h r a s e at t h e e n d n o t r e p r o d u c e d h e r e . D e s p i t e t h e v a r i e d o r n a m e n t a l c l o t h i n g a p p l i e d to i t , the same m e l o d y appears to l i e u n d e r a l l three versions. N o t that one can identify a n y precise ' U r m e l o d i e ' , b u t a c o m m o n u n d e r s t a n d i n g o f t o n a l i t y a n d m e l o d i c s h a p e is p r e s e n t . s o m e of t h e surface differences W e c a n easily understand as d i f f e r e n t c o n v e n t i o n a l w a y s o f m a k i n g i d e n t i c a l

g e s t u r e s . T h e s a m e c o n v e n t i o n a l c a d e n c e a p p e a r s i n t h e G r e g o r i a n v e r s i o n at t h e e n d of p h r a s e s C , E , a n d F . T h e O l d R o m a n v e r s i o n h a s a d i f f e r e n t w a y o f m a k i n g a c a d e n c e , u s e d i n i t s f u l l e s t f o r m at t h e e n d o f p h r a s e s C a n d E , i n a s h o r t e r f o r m f o r phrase B . T h e M i l a n e s e v e r s i o n has yet another w a y of d o i n g i t , seen f o r phrases C a n d F . S o m e o t h e r f i g u r e s s e e m t o b e c o m m o n o r n a m e n t s : t h e f i g u r e cbabc ( 3 , 1 0 , 1 6 ) , f o r e x a m p l e , w h e r e t h e G r e g o r i a n v e r s i o n h a s cbc, ccc, cc, T h e o p p o s i t e f i g u r e aGFGa 25, T h e O l d R o m a n uses t h e f i g u r e G(a)bcb, conventional figures, a(b)cdc, o r b(c)ded in Milan respectively.

a p p e a r s i n t h e M i l a n e s e v e r s i o n at 12, 1 5 , 16, a n d 18. s i x t i m e s ( 7 , 10, 12, 1 9 ,

3 5 ) , t h o u g h t h i s a p p e a r s i n M i l a n as w e l l ( 7 , 2 3 , 2 5 ) . I f w e c a n see past s u c h the c o m m o n elements and the differences appear more clearly.

T h e O l d R o m a n v e r s i o n d i f f e r s f r o m t h e o t h e r t w o b y e n d i n g t h e A p h r a s e o n a, d e s c e n d i n g t o G at 9 , a n d s t a r t i n g t h e D a n d F p h r a s e s o n c. T h e M i l a n e s e v e r s i o n s t a n d s a l o n e at 12 w h e n it g o e s f o r F i n s t e a d o f c. T o t h i s e x t e n t t h e M i l a n e s e a n d G r e g o r i a n versions f o r m the closer pair. It h a r d l y n e e d s s a y i n g t h a t s u c h m e l o d i c a n a l y s i s m u s t b e c a r r i e d o u t o n a w i d e a n d s y s t e m a t i c b a s i s . A r g u i n g f r o m s i n g l e p i e c e s is o f l i t t l e v a l u e . B u t c o m m o n sense t e l l s us i n t h i s a n d m a n y o t h e r cases that w e a r e d e a l i n g w i t h s i m p l e a n d o r n a t e v e r s i o n s o f the s a m e m e l o d y . S i n c e it s e e m s l i k e l y t h a t M i l a n t o o k t h e i n t r o i t o v e r f r o m t h e G r e g o r i a n r a t h e r t h a n t h e R o m a n t r a d i t i o n , w e h a v e h e r e a case o f a r e l a t i v e l y s i m p l e m e l o d y b e i n g t r a n s f o r m e d w h e n s u n g i n a m o r e decorative i d i o m . If w e believe that the F r a n k s h e a r d t h e p i e c e i n s o m e t h i n g l i k e t h e O l d R o m a n v e r s i o n g i v e n h e r e , w e m i g h t c o n s i d e r t h e i r G r e g o r i a n v e r s i o n t o b e a less a c c o m p l i s h e d , ' e r s a t z ' v e r s i o n o f s o m e t h i n g they f o u n d rather however, another possibility. difficult to manage i n its full s p l e n d o u r . T h e r e is, Both the Milanese and O l d Roman versions are S h o u l d we reckon with a

recorded i n sources no older than the eleventh c e n t u r y .

E x . V I I 1.4.4. G r e g o r i a n , O l d R o m a n , and A m b r o s i a n versions of introit/ingressa Invocavit me ( M o n t p e l l i e r , F a c u l t e de M e d e c i n e H . 159, p . 8 6 ; R o m e , B i b l . A p . V a t . V a t . lat. 5319, f o . 4 1 ; L o n d o n , B r i t . L i b . A d d . 34209, p . 147)
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p r o c e s s of a c c r e t i o n of d e c o r a t i v e d e t a i l b e t w e e n t h e n i n t h a n d e l e v e n t h Did the R o m a n s s i n g s o m e t h i n g l i k e the G r e g o r i a n v e r s i o n to t h e

centuries? then by

Franks,

t h r o u g h f u r t h e r e m b e l l i s h m e n t d e v e l o p the ornate s i n g i n g t r a d i t i o n r e p r e s e n t e d r e c o r d e d i n the O l d R o m a n a n d M i l a n e s e chant books? flourish,

t h e O l d R o m a n c o p y of t h e e l e v e n t h c e n t u r y ? H o w o l d is t h e o r n a t e s t y l e of s i n g i n g C o m p a r i s o n of d i f f e r e n t M i l a n e s e m a n u s c r i p t s o u r c e s d o e s o c c a s i o n a l l y r e v e a l s m a l l d i f f e r e n c e s of d e t a i l , e x t r a p a s s i n g n o t e s , a n e x t r a t h e e x t r a r e p e t i t i o n of a Of p h r a s e i n a m e l i s m a . B u t t h e o v e r a l l l e v e l of d e c o r a t i o n is h a r d l y a l t e r e d t h e r e b y . embellishment (in the w r i t t e n sources themselves: w h a t was s u n g m a y have

c o u r s e , t h e c r e a t i o n of a w r i t t e n t r a d i t i o n i n M i l a n m a y w e l l h a v e s t o p p e d f u r t h e r been a n o t h e r s t o r y ) . B u t t h e i m p r e s s i o n o n e g a i n s is t h a t t h e e l a b o r a t i o n is n o t p a r t i c u l a r l y r e c e n t . T h e s a m e is t r u e of O l d R o m a n c h a n t . T h e d i f f e r e n c e s b e t w e e n t h e are d i f f e r e n t v e r s i o n s w i t h i n t h e s a m e m u s i c a l s t y l e . Consideration Beneventan, of the third surviving Old Italian chant repertory, the Old also s u g g e s t s that t h e h i g h l e v e l of d e c o r a t i v e d e t a i l is n o t a m o d e r n sources

a c c r e t i o n b u t p a r t a n d p a r c e l of a g e n e r a l c o n c e p t i o n of h o w c h a n t i n g e n e r a l s h o u l d b e s u n g , a c o n c e p t i o n p r e v a l e n t i n I t a l y b u t s e e m i n g l y f o r e i g n to t h e F r a n k s .

VI11.5.

O L D I T A L I A N

C H A N T

III:

B E N E V E N T O Kelly

A n d o y e r 1 9 1 1 - 2 1 ; Hesbert 1 9 3 8 - 4 7 ; Bailey 1983; H u g l o 1985, ' B e n e v e n t a i n ' ; 1985,"'Montecassino', 1987, 1989; P a l M u s 14, 15, 20.

D e s p i t e t h e m o d e s t a m o u n t of m u s i c s u r v i v i n g f r o m t h e O l d B e n e v e n t a n r e p e r t o r y , it has been w e l l served b y s c h o l a r s h i p , p r i n c i p a l l y b y H e s b e r t (especially 1 9 3 8 - 4 7 a n d i n P a l M u s 14) a n d r e c e n t l y b y K e l l y , w h o has n o w p r o v i d e d a c o m p r e h e n s i v e s u r v e y of a l l a s p e c t s of t h e r e p e r t o r y ( 1 9 8 9 ) . A set of f a c s i m i l e s w i l l s h o r t l y a p p e a r as P a l M u s 21. O f the m o r e t h a n e i g h t y s o u r c e s c o n t a i n i n g p i e c e s of O l d B e n e v e n t a n c h a n t , n o n e is a c o m p l e t e c h a n t - b o o k f o r t h i s r e p e r t o r y , a n d v e r y m a n y h a v e b u t a h a n d f u l of i t e m s o r d u p l i c a t e e a c h o t h e r . T h e r e p e r t o r y t h e r e f o r e s u r v i v e s i n a v e r y i n c o m p l e t e s t a t e . It s u f f e r e d t h e s a m e fate as a l l o t h e r s i n W e s t e r n E u r o p e s a v e t h e M i l a n e s e , g i v i n g w a y to Gregorian chant b y the twelfth century, t h o u g h not b e f o r e it w a s r e c o r d e d in are the d i a s t e m a t i c n o t a t i o n . M u c h of it s u r v i v e s i n the f o r m of i t e m s of s p e c i a l l o c a l i n t e r e s t o r v e n e r a t i o n i n t h e m i d s t of G r e g o r i a n c h a n t - b o o k s . T h e t w o p r i n c i p a l s o u r c e s Benevento, Beneventan Archivio C a p i t o l a r e 38 a n d 40, i n b o t h of w h i c h a number masses (eight and thirteen respectively) are s i m p l y c o p i e d a f t e r of O l d

c o r r e s p o n d i n g G r e g o r i a n ones. M u c h about the B e n e v e n t a n l i t u r g y remains u n k n o w n , b u t i n s o m e respectschiefly

a f f e c t i n g t h e a r r a n g e m e n t of p r a y e r s a n d lessons of m a s s i t d i f f e r s f r o m t h e R o m a n , o f t e n a g r e e i n g w i t h M i l a n e s e use i n s t e a d . F o r e x a m p l e , t h e i n t r o i t c h a n t is c a l l e d t h e 'ingressa' and has no psalm verse, as at Milan. There are points of musical

c o r r e s p o n d e n c e w i t h M i l a n as w e l l , a n d B e n e v e n t a n m u s i c i a n s r e f e r r e d t o t h e i r c h a n t as ' A m b r o s i a n ' . I t h a s b e e n s u g g e s t e d t h a t these r e f l e c t a p e r i o d o f c l o s e r c u l t u r a l contact between M i l a n a n d Benevento, w h e n b o t h were u n d e r L o m b a r d d o m i n a t i o n , a l t h o u g h t h e e v i d e n c e is n o t s t r o n g e n o u g h t o s p e a k of a c o m m o n ' L o m b a r d ' l i t u r g i c a l use u n i t i n g M i l a n century, conquer Frankish survived and south I t a l y . T h e L o m b a r d i n v a d e r s of I t a l y o f t h e s i x t h to C a t h o l i c i s m d u r i n g t h e s e v e n t h , d i d n o t at f i r s t Italy to the duchy. This o r R o m e itself. S o o n after the L o m b a r d seizure of leaving Benevento i n the teeth as a n i n d e p e n d e n t of b o t h gradually converted Ravenna (Byzantine) kingdom in 773-4, until its e x t i n c t i o n

R a v e n n a i n 7 5 1 , C h a r l e m a g n e a d d e d t h e w h o l e of n o r t h a n d c e n t r a l i n one f o r m or another,

Frankish and Byzantine at t h e h a n d s of the Sofia,

incursions,

i n the mid-eleventh century

N o r m a n s . A s w e l l as B e n e v e n t o

itself, e s p e c i a l l y t h e d u c a l c h u r c h o f S a n t a practice.

M o n t e c a s s i n o was a n i m p o r t a n t centre of O l d B e n e v e n t a n

T h e contrast, even conflict, between ' A m b r o s i a n ' (Beneventan) and G r e g o r i a n chant is i l l u s t r a t e d i n a p o e m p r e s e r v e d i n M o n t e c a s s i n o , A r c h i v i o d e l l a B a d i a 3 1 8 ( A m e l l i 1913, C a t t a n e o 1 9 5 0 , 2 3 - 6 ) . C h a r l e m a g n e h a s o r d e r e d t h a t ' R o m a n ' c h a n t b e s u n g i n every church. A trial is a r r a n g e d between two choirboys, singing R o m a n and A m b r o s i a n chant respectively. A f t e r a w h i l e the b o y s i n g i n g A m b r o s i a n falls w h i l e the other sings o n . Altogether K e l l y (1988, 1 6 4 - 5 ) w a s a b l e t o list s i x t y - f o u r t e x t s f o u n d at least T h e Milanese repertory, with forty-four concordances, p a r t i a l l y i n b o t h t h e O l d B e n e v e n t a n a n d at least o n e o f t h e G r e g o r i a n , O l d R o m a n , and Milanese repertories. s t a n d s t h e c l o s e s t , w h i l e t h i r t y - n i n e t e x t s are s h a r e d w i t h t h e G r e g o r i a n a n d t h i r t y two w i t h the O l d R o m a n . C o n v i n c i n g musical concordances with O l d Beneventan chants are f e w e r : t w e n t y - s e v e n M i l a n e s e b u t o n l y six G r e g o r i a n a n d the same s i x O l d R o m a n . T h e r e i s s t r i k i n g l y l i t t l e u n i f o r m i t y of l i t u r g i c a l a s s i g n m e n t , o n l y s i x i t e m s . Some aspects of O l d B e n e v e n t a n for example, Then practice stand i n c o n t r a d i c t i o n to R o m a n a n d offertories are s h o r t , simple pieces Milanese; the O l d Beneventan again, i n some

w i t h o u t verses (there is s o m e c r o s s i n g of l i t u r g i c a l b o u n d a r i e s w i t h c o m m u n i o n s a n d office a n t i p h o n s ) . instances we appear to be d e a l i n g w i t h a the same general O l d Italian practice w h i c h contradicts Gregorian; for example,

m e l o d y is u s e d f o r p r a c t i c a l l y a l l O l d B e n e v e n t a n alleluias. L i k e some lengthy M i l a n e s e a n t i p h o n s (an example of a t r a n s i t o r i u m w a s g i v e n above, Ex. VIII.4.1), some O l d Beneventan pieces are c o m p o s e d b y the simple long Easter r e p e t i t i o n of a m e l o d i c i d e a . K e l l y g i v e s as e x a m p l e s the especially

i n g r e s s a a n d c o m m u n i o n ( 1 1 2 - 1 4 , 1 2 8 - 9 ) , also t h r e e i n g r e s s a e w h i c h s h a r e m e l o d i c m a t e r i a l ( 1 1 7 - 1 8 ) . T h e r e are s e v e n m e l o d i c p h r a s e s ( A - G ) i n a l l , e m p l o y e d i n t h e t h r e e p i e c e s as f o l l o w s : Petrus dormiebat ^tirge proper a Gaudeamus omnes ABCDEFG * * ### * * ABCDEFG # ## ##
^

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T h e last p h r a s e ( ' G ' ) i s t h e m o s t c o n s i s t e n t l y u s e d .

K e l l y has d i s c u s s e d i n s a t i s f y i n g d e t a i l n u m e r o u s i t e m s w h e r e t h e O l d I t a l i a n a n d G r e g o r i a n repertories have the same basic m e l o d y i n different stylistic manifestations. If i n n e e d of a b l u n t g e n e r a l i z a t i o n to c o u n t e r p o i n t K e l l y ' s f i n e d i s c r i m i n a t i o n , o n e m i g h t f a i r l y say t h a t t h e O l d B e n e v e n t a n v e r s i o n s are at least as o r n a t e as a n y o t h e r , and often more ornate. m o r e , the B e n e v e n t a n Archivio eleventh basically Hymnum Capitolare century. a simple canite recitation around the semitone step. The communion chant T h e y support the b r o a d hypothesis that O l d Italian melodies have an o l d e r m a n u s c r i p t t r a d i t i o n t h a n the 33 (PalMus 20), which both contain chants of chant is others. Old early f a v o u r e d a m o r e e l a b o r a t e s t y l e t h a n is f o u n d i n t h e G r e g o r i a n t r a d i t i o n . W h a t R o m e , B i b l i o t e c a A p o s t o l i c a V a t i c a n a , V a t . l a t . 10673 ( P a l M u s 14) a n d Beneventan H o l y Week liturgy in significant quantities,

Benevento, the

b o t h date f r o m the

O n e e x a m p l e m u s t s u f f i c e to s h o w t w o O l d I t a l i a n w a y s of e m b e l l i s h i n g w h a t is is c o m m o n to t h e M i l a n e s e a n d t h e O l d B e n e v e n t a n t r a d i t i o n s b u t is

n o t f o u n d i n t h e R o m a n . I n E x . V I I I . 5 . 1 it is t r a n s p o s e d u p a f i f t h f r o m t h e e d i t i o n i n Ex. VIII.5.1. Antiphonale

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S u r i o l ' s M i l a n e s e Antiphonale; recitation pattern (see Kelly

the s o u r c e of t h e B e n e v e n t a n v e r s i o n , B e n e v e n t o 1989, 107 for an extract a n d other examples).

38, The

has n o c l e f s , so i t s p i t c h e s are also c h o s e n to m a t c h it w i t h t h e c o m m o n

Beneventan

a l l e l u i a s at t h e e n d of t h e O l d B e n e v e n t a n p i e c e are n o t p a r t of t h e r e c i t a t i o n p a t t e r n b u t a t y p i c a l e n d i n g a t t a c h e d to s e v e r a l c h a n t s i n t h e E a s t e r s e a s o n ( f o r o t h e r e x a m p l e s see K e l l y 1989, 129 a n d t h e t a b l e o n 115).

VIII.6.

G A L L I C A N

C H A N T Stablein,

L e c l e r c q , ' G a l l i c a n e (liturgie)', DACL; the', The NG.

Gastoue 1939 ( 1 9 3 7 - 9 ) ; Porter 1958;

' G a l l i k a n i s c h e L i t u r g i e ' , MGG\ H u g l o in Fellerer 1972 2 1 9 - 3 3 , ' G a l l i c a n R i t e , M u s i c of

development

of l i t u r g i e s i n G a u l

was o b v i o u s l y affected

b y the

i n v a s i o n of

G e r m a n i c t r i b e s i n t h e fifth c e n t u r y , t h a t i s , at a t i m e w h e n f o r m s of p u b l i c w o r s h i p all o v e r C h r i s t e n d o m w e r e t a k i n g o n t h e i r v a r i e d s h a p e s . V i s i g o t h i c h e g e m o n y i n t h e e a r l y fifth c e n t u r y w a s g r a d u a l l y r e p l a c e d b y t h a t of the F r a n k s , w h o e x t e n d e d t h e i r c o n t r o l as f a r as t h e Pyrenees i n the early s i x t h c e n t u r y . T h e i r k i n g C l o v i s was or 498. B y the m i d - s i x t h c e n t u r y a n d m u c h of W e s t they Germany. b a p t i z e d i n R e i m s o n C h r i s t m a s D a y 497

already r u l e d a n area e q u i v a l e n t to m o d e r n F r a n c e

T h r o u g h o u t this p e r i o d liturgical practices developed largely, t h o u g h not completely, i n i s o l a t i o n f r o m R o m e , t o a c e r t a i n e x t e n t i n p a r a l l e l w i t h t h o s e of t h e V i s i g o t h i c kingdom in Spain. T h e rites, as f a r as t h e y subsequent p r i n c i p a l similarities a n d differences have been between the various The affect chants, s u m m a r i z e d above (VI.4-5).

a d o p t i o n of R o m a n use u n d e r P i p p i n a n d C h a r l e m a g n e h a s also a l r e a d y of 'a r i t e ' , u n i f o r m i n f o r m a n d content the

been outlined ( V I 1 . 2 ) . A l t h o u g h w e are u s e d to the c o n c e p t wherever it w a s o b s e r v e d , it is i n a p p r o p r i a t e f o r the c h u r c h i n G a u l b e f o r e antiquae

a d o p t i o n of t h e R o m a n r i t e i n t h e F r a n k i s h k i n g d o m . T h e s u r v i v i n g r u l e s , s y n o d a l p r e s c r i p t i o n s , d e s c r i p t i o n s s u c h as the Expositio gallicanae t h e Histoiia Erancorum

service-books, liturgiae

( e d . R a t c l i f f 1 9 7 1 ) , a n d p a s s i n g c o m m e n t s o n t h e l i t u r g y s u c h as t h o s e i n b y B i s h o p G r e g o r y of T o u r s ( d . 594) m a k e it c l e a r t h a t t h e r e pattern. 108, 275T h u s the l e c t i o n a r y i n P a r i s ,

were m a n y variations w i t h i n a general 7, 3 2 0 - 6 ) a n d t h e s e reflect

A h a n d f u l of e a r l y G a l l i c a n s e r v i c e - b o o k s h a v e s u r v i v e d (see V o g e l 1986, the d i v e r s i t y of u s a g e .

B i b l i o t h e q u e N a t i o n a l e , l a t . 1 0 8 6 3 , s i x t h to s e v e n t h c e n t u r y , a n d t h e ' L e c t i o n a r y of L u x e u i l ' , P a r i s , B i b l i o t h e q u e N a t i o n a l e , l a t . 9 4 2 7 , s e v e n t h to e i g h t h c e n t u r y , h a v e t h e s a m e s y s t e m of t h r e e r e a d i n g s at m a s s , b u t a l m o s t n e v e r t h e s a m e c h o i c e of l e s s o n s . T h e sets of p r a y e r s f o r m a s s first p u b l i s h e d b y F . J . M o n e ( 1 8 5 0 ) , t h e n e d i t e d b y M o h l b e r g et al. (1958), differ considerably f r o m t h o s e of t h e s o - c a l l e d 'Missale texts: G o t h i c u m ' ( e d . M o h l b e r g 1 9 6 1 ) , t h o u g h b o t h f o l l o w the s a m e o r d e r of s e r v i c e . By exceptional g o o d f o r t u n e s o m e of t h e s u r v i v i n g b o o k s i n c l u d e c h a n t

s i x t e e n f o r c h a n t s a f t e r the l e s s o n s i n W o l f e n b u t t e l , H e r z o g - A u g u s t - B i b l i o t h e k 4 1 6 0 ( W e i s s e n b u r g 7 6 ) , a l e c t i o n a r y of a r o u n d 5 0 0 f r o m s o u t h e r n G a u l ( e d . D o l d 1 9 3 6 ; also M o r i n 1 9 3 7 ) , a n d t h e r e s p o n d t e x t s m a r k e d i n the s o - c a l l e d ' P s a l t e r of Germain-des-Pres', ( H u g l o 1982, see Saint-

P a r i s , B i b l i o t h e q u e N a t i o n a l e , l a t . 1 1 9 4 7 , of t h e s i x t h c e n t u r y

' R e p o n s - G r a d u e l ' ) . W h a t m a y w e l l be G a l l i c a n c h a n t t e x t s h a v e also fragments

s u r v i v e d alongside C e l t i c m a t e r i a l , for e x a m p l e i n the so-called ' B a n g o r A n t i p h o n a r y ' of t h e late s e v e n t h c e n t u r y ( e d . W a r r e n 1 8 9 3 - 5 ; see C u r r a n 1 9 8 4 ) . T h e e d i t e d b y M o r i n ( 1 9 0 5 ) m a y be C e l t i c o r G a l l i c a n . S e v e r a l i t e m s , d i s t i n c t i v e b y v i r t u e of t h e i r e n t h u s i a s t i c l i t e r a r y s t y l e , a p p e a r to h a v e s u r v i v e d i n O l d S p a n i s h o r M i l a n e s e b o o k s . T h e g r e a t e r p a r t of w h a t s u r v i v e s w i t h m u s i c i s , h o w e v e r , t o b e f o u n d i n G r e g o r i a n c h a n t - b o o k s f r o m F r a n c e . F o r one reason or another, i t e m s f r o m the o l d e r i n d i g e n o u s use w e r e p r e s e r v e d a l o n g s i d e the n e w e r R o m a n The r e m a i n s of t h e c h a n t repertory. t h a t it is

r e p e r t o r y of t h e G a l l i c a n r i t e are so m e a g r e

p r a c t i c a l l y i m p o s s i b l e to g e n e r a l i z e a b o u t its m u s i c a l s t y l e . A f t e r t h e p i o n e e r i n g w o r k o f G a s t o u e ( 1 9 3 7 - 9 ) , c o m p r e h e n s i v e s u m m a r i e s of o u r p r e s e n t k n o w l e d g e h a v e b e e n made by Stablein and H u g l o . A f u r t h e r d i f f i c u l t y e x i s t s i n t h a t t h e G a l l i c a n c h a n t s w h i c h d i d s u r v i v e i n late c o p i e s m a y h a v e b e e n e d i t e d to m a k e t h e m c o n f o r m to t h e ' G r e g o r i a n ' s t y l e . A b b o t H i l d u i n of S a i n t - D e n i s , w r i t i n g t o t h e e m p e r o r L o u i s t h e P i o u s ( M G H ( E p i s t o l a e ) Epistolae Karolini aevi, i i i . 330), s a i d t h a t t h e o f f i c e of S t D e n i s i n c l u d e d G a l l i c a n
7

c h a n t s a n d t h e r e f o r e h a d to b e ' G r e g o r i a n i z e d ' . W h e n w e i n s p e c t t h e m u s i c of t h o s e c h a n t s w h i c h s e e m to b e of G a l l i c a n o r i g i n , it is o f t e n d i f f i c u l t , i f n o t i m p o s s i b l e , to say w h a t is s p e c i f i c a l l y G a l l i c a n a b o u t i t . T h a t it d i d i n d e e d s o u n d d i f f e r e n t i n s o m e w a y is s t a t e d b y W a l a h f r i d S t r a b o i n De 8 2 0 s ( P L 114. 9 4 6 ) . ( ' v e r b i s et s o n o ' ) . the language H e mentions Rome's rebus ecclesiasticis, 'more perfect c h . 22, w r i t t e n i n the and the the In a H e says it c a n be d i s t i n g u i s h e d b y b o t h its t e x t s a n d i t s m u s i c s c i e n c e of c h a n t ' been i n G a l l i c a n use. T h e stylistic contrast flowery with between

' i n e l e g a n c e ' a n d ' l a c k of c o r r e c t n e s s '

of R o m a n a n d G a l l i c a n p r a y e r t e x t s has o f t e n Walahfrid's remarks for texts into concrete

discussed:

c o n c i s i o n of t h e R o m a n as against t h e more d i f f i c u l t to t r a n s l a t e one has to look practice

a n d c o l o u r f u l G a l l i c a n . It is n a t u r a l l y musical terms. preferably yet well with

Gallican hallmarks, are not

concordance differs f r o m (CDD, GEE,

i n another n o n - R o m a n use, a n d m u s i c a l f o r m o r m e l o d i c style w h i c h G r e g o r i a n practice. o r DEE, EGG, Gaa, Analytical techniques enough cadence' so-called ' G a l l i c a n

d e v e l o p e d f o r d i s t i n c t i o n s a l w a y s to be p o s s i b l e . T h e

e t c . , o f t e n n o t a t e d w i t h a p e s s t r a t u s ) is n o t a s u r e

i n d i c a t o r , f o r a l t h o u g h it is not f o u n d i n t h e l a y e r of c h a n t t a k e n f r o m R o m a n u s e , t h a t is G r e g o r i a n c h a n t , it w a s u s e d v e r y w i d e l y i n i t e m s c o m p o s e d b y t h e F r a n k s f r o m t h e eighth century onward. A n e x a m p l e of a p o s s i b l e G a l l i c a n i t e m is the P a l m S u n d a y p r o c e s s i o n a l a n t i p h o n Cum Cum audisset. audisset This i n c l u d e s a s e n t e n c e , ' Q u a n t u s est iste', w h i c h recurs i n an a n t i p h o n , Curvati sunt, k n o w n f r o m the O l d S p a n i s h a n d M i l a n e s e l i t u r g i e s . S i n c e

is n o t f o u n d i n R o m a n b o o k s , t h e p r o b a b i l i t y e x i s t s t h a t it is a G a l l i c a n

p i e c e , l i k e s e v e r a l o t h e r p r o c e s s i o n a l a n t i p h o n s (cf. 1 1 . 9 ) . T h e r e c u r r e n c e of a n u m b e r of o p e n i n g s a n d c a d e n t i a l f i g u r e s is n o t a b l e ( E x . V I I I . 6 . 1 : a l t e r n a t i v e t e x t o n l i n e s 56, p r e s u m a b l y not f o r s i n g i n g ) . The Franks Prosperum m a j o r i t y of s u r v i v i n g G a l l i c a n c h a n t s to the Roman mass-books may c.) are to be f o u n d f o r o c c a s i o n s occasion, as i n the when introit R o m a n use p r o v i d e d n o m o d e l . C h a n t s f o r the v o t i v e m a s s e s w h i c h w e r e a d d e d b y t h e p r o v i d e the iterfaciat ( e d . S t a b l e i n i n MGG), (11th f o u n d i n the A q u i t a n i a n g r a d u a l P a r i s , f o r the m a s s f o r t h o s e s e t t i n g o u t o n a i n G r e g o r i a n b o o k s to the Minor listed (MGG) the s c r i b e h a s g i v e n a n

B i b l i o t h e q u e N a t i o n a l e , lat. 776 the first p a r t of t h e

j o u r n e y . A n o t h e r g r o u p is c o n s t i t u t e d b y the ' p r e c e s ' , o r i g i n a l l y a l i t a n y at t h e e n d of G a l l i c a n mass, reassigned L i t a n i e s of t h e d a y s b e f o r e A s c e n s i o n . T h i s c u s t o m of s i n g i n g l i t a n i e s i n p r o c e s s i o n was taken over b y the R o m a n c h u r c h f r o m the G a l l i c a n . H u g l o ( A ' G ) has t w e n t y - f o u r p o s s i b l y G a l l i c a n i t e m s ; examples have been edited b y S t a b l e i n w i t h L a t i n v e r s e s has a l r e a d y b e e n d i s c u s s e d ( 1 1 . 1 7 ) . O n t h e o t h e r h a n d , n o t a l l a d d i t i o n s to the i m p o r t e d R o m a n r e p e r t o r y c a n a s s u m e d to b e G a l l i c a n . G a s t o u e ( 1 9 3 8 , 1 0 - 1 1 ) , S t a b l e i n ( M G G , 1307) (1989, 4 7 - 8 ) Gallican. t h o u g h t t h a t t h e E - m o d e m e l o d y f o r the G r a d u a l Angelis Franks may well have (see AMS, W h i l e the be and Wright suis m u s t be mass on

and H u g l o (1955, T r e c e s ' ) . T h e r e l a t i o n s h i p between these litanies a n d the K y r i e s

a d d e d t h i s g r a d u a l to t h e

Quadragesima Sunday

L - L I I ) , they s i m p l y used the u s u a l G r e g o r i a n

formulas for E - m o d e graduals. S o m e G a l l i c a n i t e m s a p p e a r to h a v e b e e n p r e s e r v e d as a n e n r i c h m e n t of R o m a n u s e . T h e E x u l t e t a n d h y m n Inventor this. Others t u r n u p i n the preserved rutili f o r the E a s t e r E v e l i t u r g y are e x a m p l e s of patron saints: St Denis, liturgies for local F r e n c h

S t M a u r i c e , S t R e m i g i u s . F o r e x a m p l e , the m a s s f o r S t D a g o b e r t , M e r o v i n g i a n k i n g of t h e Franks, in books f r o m Saint-Denis, i n c l u d e s a n a n t i p h o n 'ante e v a n g e l i u m ' , a n i t e m of t h e G a l l i c a n m a s s b u t n o t the R o m a n m a s s ( f a c s i m i l e a n d t r a n s c r i p t i o n b y S t a b l e i n i n MGG). T h e p r e s u m p t i o n is t h a t the m u s i c is G a l l i c a n , t h o u g h t h e p r e c i s e w a y s i n w h i c h it d i f f e r s f r o m , say, m a n y l o n g e r o f f i c e a n t i p h o n s i n G r e g o r i a n b o o k s h a v e n o t yet b e e n d i s t i n g u i s h e d s u f f i c i e n t l y c l e a r l y . A n i m p o r t a n t g r o u p of p o s s i b l y G a l l i c a n p i e c e s is b e i n g u n c o v e r e d i n t h e o f f e r t o r y repertory. The Gallican sonus accompanied a procession of some splendour, Gastoue nona p p a r e n t l y m o d e l l e d o n B y z a n t i n e u s e . C h i e f l y o n g r o u n d s of m u s i c a l s t y l e , h a d a l r e a d y b e l i e v e d t h e o f f e r t o r y Mentor MGG). T h i s piece appears R o m a n o f f e r t o r y Elegerunt part m u s i c a l c o n c o r d a n c e s apostoli sit dominus

to b e G a l l i c a n ( e d . S t a b l e i n i n

w i t h o u t verse i n the O l d R o m a n t r a d i t i o n . T h e

s u r v i v e d i n G r e g o r i a n b o o k s f o r St S t e p h e n ' s D a y O n g r o u n d s of t e x t u a l a n d i n

i n t h e f a c e of c o m p e t i t i o n f r o m t h e R o m a n In virtute.

w i t h O l d S p a n i s h a n d M i l a n e s e c h a n t s , L e v y ( 1 9 8 4 ) has

a d d e d m o r e o f f e r t o r i e s t o t h i s g r o u p . I n m o s t of these cases t h e r e are v e r s i o n s i n the O l d R o m a n r e p e r t o r y . A c c e p t a n c e of a n o n - R o m a n o r i g i n a p p e a r s to m e a n t h a t t h e i r m u s i c a l s t y l e w a s ' R o m a n i z e d ' to m a k e the O l d R o m a n v e r s i o n s w e k n o w . Ex. VIII.6.2 gives part of the offertory Sanctificavit Moyses (see also the d i s c u s s i o n b y B a r o f f i o 1967) i n G r e g o r i a n , O l d S p a n i s h ( w i t h staffless n o t a t i o n o n l y ) ,

Ex. VIII.6.1.

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A m b r o s i a n , a n d O l d R o m a n v e r s i o n s . T h e text is a free c o m p i l a t i o n of p a r t s o f t h e book of Exodus. The Gregorian and O l d Spanish versions have the respond est ed. Sanctificavit', a n d Oravit a f t e r t h e v e r s e s t h e r e is a repeat f r o m ' F e c i t s a c r i f i c i u m ' , i n t r o d u c e d b y Moyses ( O t t 1935, 2, 350) 114; M o n t p e l l i e r , F a c u l t e de M e d e c i n e H . 159,

a s p e c i a l n e w p h r a s e ' T u n c M o y s e s ' ; t h e r e f o l l o w the ( v e r y l o n g ) v e r s e s Locutus

H a n s e n , no. 918). T h e O l d R o m a n version in R o m e , Biblioteca A p o s t o l i c a Vaticana, V a t . lat. 5319 ( M M M A s p l i t s the verses i n t o f o u r v e r s e s e a c h , e i g h t i n a l l . O n l y t h e last p h r a s e of t h e r e s p o n d ' I n c o n s p e c t u ' is g i v e n f o r t h e r e p e a t . I n M i l a n t h e f i r s t p a r t of t h e v e r s e Oravit Oravit plus what was the sacrificium\ If t h e o f f e r t o r y h a d c o m e to R o m e f r o m e l s e w h e r e , o n e w o u l d h a v e e x p e c t e d R o m a n m u s i c i a n s to a p p l y t h e i r u s u a l f o r m u l a i c m e t h o d f o r p r o v i d i n g m u s i c VIII.3). the (see is t h e r e s p o n d , the verse b e i n g f o r m e d b y the rest of r e p e a t i n the Gregorian version, ' T u n c Moyses fecit

T o s o m e e x t e n t i n t h e v e r s e s t h e y d i d so, a n d f o r these p a r t s of t h e v e r s e s 1967 i n t e r p r e t s it as u s i n g a b a s i c m e l o d y s e v e r a l

t h e r e is n o r e l a t i o n w i t h t h e G r e g o r i a n v e r s i o n . T h e M i l a n e s e v e r s i o n is g e n e r a l l y n o t close to the G r e g o r i a n ( B a r o f f i o t i m e s o v e r i n v a r i e d f a s h i o n ) . I n so far as the O l d S p a n i s h n e u m e s c a n be p r o p e r l y u n d e r s t o o d , t h e y a p p e a r t o i n d i c a t e a v e r s i o n m u c h c l o s e r to the G r e g o r i a n , at least i n p l a c e s . E x . V I 1 1 . 6 . 2 s h o w s t h e c l o s e of the s e c o n d v e r s e , w h e r e b o t h G r e g o r i a n a n d Old Spanish versions have a melisma in A A B form (the O l d Spanish actually of A A B B ' B B ' C C D ) . T h e O l d R o m a n v e r s i o n uses the e n d of a r e c i t a t i o n f o r m u l a f o r ' Q u i a ego s u m D e u s ' a n d t h e f u l l f o r m u l a f o r the last p h r a s e , p e r h a p s e v i d e n c e R o m a n m o d e r a t i o n as o p p o s e d to G a l l i c a n r h e t o r i c a l d i s p l a y .

E x . V I 1 1 . 6 . 2 . Part of offertory Sanctificavit Moyses i n O l d S p a n i s h , G r e g o r i a n , A m b r o s i a n , and O l d R o m a n versions (Antifonario visigotico, fo. 305 ; M o n t p e l l i e r , Faculte de M e d e c i n e II. 159, p . 2Sb\Antiphonale . . . Mediolanensis, 333; R o m e , B i b l . A p . V a t . V a t . lat. 5319, fo. 130 )
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VIII.7.

O L DS P A N I S H ( M O Z A R A B I C )

C H A N T

Liturgy: W . C . B i s h o p 1924; Prado 1927, 1928; C a b r o l , ' M o z a r a b e ( L a l i t u r g i e ) ' , DACL; K i n g 1957, Pnmatial; R i v e r a Recio 1965. Chant: Wagner 1928, 1930; Rojo and Prado 1929; B r o u 1947, ' P s a l l e n d u m ' a n d 'Etudes', 1948, 1950, 1951, ' A l l e l u i a ' , 1951, 'Sequences'; H u s m a n n 1 9 5 8 - 6 1 ; H u g l o

1964; P i n e l l 1965; Brockett 1968; R a n d e l 1969, ' P s a l m o d y ' , 1969, Psalm 1977, 1985, ' M o z a r a b i c R i t e , M u s i c of the', NG\ L e v y 1985. Facsimile: Antifonario (Saragossa). visigotico ( L e o n , A r c h i v o Catedral 8 ) ; Antiphonale

Tones,

1973,

Hispaniae

I h a v e c a l l e d ' O l d S p a n i s h ' t h e c h a n t s u n g i n w h a t is n o w c e n t r a l a n d n o r t h e r n S p a i n a n d P o r t u g a l u p u n t i l ( a n d i n s o m e instances b e y o n d ) the i m p o s i t i o n of the liturgy and concomitant G r e g o r i a n c h a n t i n t h e e l e v e n t h c e n t u r y . It is o f t e n Roman called

' V i s i g o t h i c ' o r ' H i s p a n i c ' , b u t m o s t l y ' M o z a r a b i c ' . T h e V i s i g o t h s , w h o r u l e d m o s t of s o u t h - w e s t F r a n c e i n t h e fifth c e n t u r y b e f o r e b e i n g o u s t e d b y t h e F r a n k s , b r o u g h t a l l of S p a i n u n d e r t h e i r c o n t r o l i n t h e s i x t h . O u r c h i e f s o u r c e of k n o w l e d g e of t h e l i t u r g y i n t h e V i s i g o t h i c k i n g d o m is t h e De ecclesiasticis w i t h a d d i t i o n a l i n f o r m a t i o n i n h i s Etymologiae of T o l e d o (633) exception living the of the extreme rule. north-west, was officiis of I s i d o r e of S e v i l l e ( d . 636), a n d the r e c o r d s of t h e F o u r t h C o u n c i l conquered by the was Omayyad established in Arabs. under 1085. II

h e l d u n d e r h i s l e a d e r s h i p . I n 711 the V i s i g o t h i c k i n g d o m , w i t h t h e

C h r i s t i a n w o r s h i p nevertheless c o n t i n u e d ; the w o r d ' M o z a r a b i c ' refers to C h r i s t i a n s under Muslim century, Although a 'Spanish mark' C h a r l e m a g n e , t h e C h r i s t i a n r e c o n q u e s t of t h e p e n i n s u l a d i d n o t get u n d e r w a y u n t i l eleventh a major l a n d m a r k b e i n g the c o n q u e s t of T o l e d o N o r t h e r n l i t u r g i c a l p r a c t i c e s f o l l o w e d n o r t h e r n a r m s i n t o S p a i n , n o t least t h r o u g h C l u n i a c i n f l u e n c e o v e r t h e m o n a s t i c h o u s e s of n o r t h e r n S p a i n . P o p e A l e x a n d e r ( 1 0 6 1 - 7 3 ) took a s t r o n g interest i n the r e c o n q u e s t , a n d his agent H u g o C a n d i d u s was e n e r g e t i c i n t h e r e p l a c e m e n t of t h e O l d S p a n i s h ( M o z a r a b i c ) r i t e . A l e x a n d e r ' s p o l i c y was c o n t i n u e d been abbot of by Gregory VII (1073-85), Some prime advocate of p a p a l were supremacy. nevertheless King B e r n a r d , a p p o i n t e d a r c h b i s h o p of t h e n e w l y r e g a i n e d T o l e d o , w a s F r e n c h : h e h a d Cluniac Sahagun. churches in Toledo p e r m i t t e d t o c o n t i n u e w i t h t h e o l d r i t e . ( A s u s u a l , r e p o r t s of v a r i o u s l e g e n d a r y ' t r i a l s ' of t h e r i v a l r i t e s i n t h i s case b y d u e l a n d b y 1957, Primatial, 510.) firehave c o m e d o w n to u s : see

H o w m u c h of t h e c h a n t f o r t h i s r i t e s u r v i v e d t h e n c e f o r t h i n its e a r l y m e d i e v a l f o r m is n o t c l e a r . I n 1500 a n d 1502 r e s p e c t i v e l y C a r d i n a l J i m e n e z de C i s n e r o s p u b l i s h e d a m i s s a l a n d b r e v i a r y of a r e v i v e d O l d S p a n i s h r i t e . T h e c h a n t s d i f f e r c o n s i d e r a b l y f r o m any k n o w n early sources. T h e r e was a further revival, w i t h new chant-books, c e l e b r a t e d i n o n e of t h e c h a p e l s of T o l e d o C a t h e d r a l . O v e r t w e n t y m a j o r s o u r c e s of O l d S p a n i s h c h a n t e x i s t (see P i n e l l 1 9 6 5 ; sources altogether are l i s t e d b y R a n d e l 1973, forty-six though some contain only one or two at t h e t u r n of t h e e i g h t h c e n t u r y u n d e r C a r d i n a l L o r e n z a n a , a n d t h e O l d S p a n i s h r i t e is s t i l l

pieces). Y e t barely t w o d o z e n melodies were copied i n the transcribable A q u i t a n i a n n o t a t i o n i m p o r t e d f r o m the n o r t h ( w r i t t e n over erasures i n M a d r i d , A c a d e m i a de la Historia, Aemil. generally clear, 56). The significance of t h e v a r i o u s t y p e s of S p a n i s h n e u m e s is these b u t t h e p i t c h e s of the c h a n t s are i r r e c o v e r a b l y l o s t . D e s p i t e

o b s t a c l e s , a s u r p r i s i n g a m o u n t is k n o w n a b o u t t h e r e p e r t o r y , c h i e f l y t h r o u g h t h e w o r k

o f B r o u a n d of R a n d e l , w h o s e c a t a l o g u e of 1973 is a c o m p l e t e l i s t o f a l l k n o w n c h a n t s , indexed according to liturgical tradition and genre. Randel has also completed p e n e t r a t i n g s t u d i e s o f t h e o f f i c e r e s p o n s o r i e s a n d p s a l m t o n e s . T h i s b r i e f a c c o u n t is chiefly based o n his w r i t i n g s . L i k e t h e G a l l i c a n r i t e ( i n so f a r as it c a n b e k n o w n i n a n y d e t a i l ) , t h e O l d S p a n i s h r i t e w a s h o s t to a v a r i e t y o f l i t u r g i c a l t r a d i t i o n s , of w h i c h f o u r are g e n e r a l l y d i s t i n g u i s h e d . T h e y o b s e r v e d t h e s a m e s t r u c t u r e of o f f i c e a n d m a s s b u t o f t e n c h o o s e d i f f e r e n t c h a n t s o r , i n t h e case o f c o n c o r d a n c e s , h a v e d i f f e r e n t m u s i c a l v a r i a n t s . O n e t r a d i t i o n c e n t r e s o n L e o n , o n e o n t h e u p p e r E b r o v a l l e y , t h e area k n o w n as t h e R i o j a , a n d n o r t h e r n C a s t i l e , i n c l u d i n g t h e a b b e y of S a n t o D o m i n g o d e S i l o s . T h e R i o j a t r a d i t i o n , a l b e i t w i t h v a r i a n t s , w a s a l s o k n o w n i n T o l e d o , w h e r e it is k n o w n as T o l e d o ' t r a d i t i o n A ' . . The T o l e d a n ' t r a d i t i o n B ' is r e s t r i c t e d the basis of to o n l y t h r e e s o u r c e s , revision i n the but it is t h i s to that provided century. A s w e l l as t h e l i t u r g i c a l d i f f e r e n c e s , t w o d i f f e r e n t s t y l e s of n o t a t i o n w e r e u s e d , t h e one u p r i g h t , u s e d i n L e o n a n d C a s t i l e , the other heavily s l a n t e d , u s e d i n T o l e d o a n d p e r h a p s s o m e o t h e r c e n t r e s (see I V . 2 ) . T h e T o l e d a n n o t a t i o n c a n i t s e l f b e divided into two traditions. O n e employs more r o u n d e d f o r m s , a n d was used for the liturgical t r a d i t i o n ' A ' . M o r e jagged shapes were used i n c o n j u n c t i o n w i t h t r a d i t i o n ' B \ A p a r t f r o m the documents p e r i o d b e f o r e 711 (ed. Ferotin 1904), and the of S t Isidore's time, t w o early service-books of office prayers k n o w n as the of the have s u r v i v e d , a ' L i b e r o r d i n u m ' c o n t a i n i n g the o r d e r of service collection Verona chants ed. V i v e s 1946), particularly Cardinal Cisneros's fifteenth sixteenth

'Orationale' (Verona, Biblioteca Capitolare L X X X I X ,

i m p o r t a n t b e c a u s e c h a n t t e x t s are c u e d i n t h e m a r g i n . S i n c e m o s t o f t h e s e

a p p e a r i n l a t e r s o u r c e s , it is a s s u m e d t h a t m a n y of t h e t e x t s o f t h e l i t u r g y w e r e a l r e a d y e s t a b l i s h e d b e f o r e t h e M o s l e m c o n q u e s t . T h e e a r l i e s t b o o k s w i t h n o t a t i o n are u s u a l l y d a t e d i n the tenth century, but most come f r o m the e l e v e n t h . visigotico). The early books c o m b i n e office a n d mass f o r m u l a r i e s , like the M i l a n e s e b o o k s . O n e of the f r o m L e o n , h a s b e e n p u b l i s h e d i n f a c s i m i l e (Antifonario p s a l m o d y (see R a n d e l 1969, 'Psalmody'). 1985) seem earliest,

It c o n t a i n s t w o

p r o l o g u e s , t h e s e c o n d of w h i c h d e s c r i b e the p r a c t i c e of r e s p o n s o r i a l a n d a n t i p h o n a l I n t w o i m p o r t a n t respects O l d S p a n i s h chant c a n be s h o w n to a l l y itself w i t h the o t h e r n o n - G r e g o r i a n repertories a n d against G r e g o r i a n p r a c t i c e . R a n d e l (1977, has s h o w n that for the a n t i p h o n a l p s a l m o d y of m a s s a n d o f f i c e H i s s t u d y of responsory (the two i n d i s t i n g u i s h a b l e ) f o u r tones account (admittedly meagre in number). f o r the g r e a t m a j o r i t y o f s u r v i v i n g tones i n the

examples various

t r a d i t i o n s a l s o d e m o n s t r a t e s t h a t t h e G r e g o r i a n s y s t e m of e i g h t m o d e s a n d e i g h t t o n e s d i d n o t e x i s t . T h e L e o n t r a d i t i o n has s e v e n , w i t h f o u r b e i n g p a r t i c u l a r l y c o m m o n , a n d the R i o j a t r a d i t i o n also k n e w these. T o l e d o t r a d i t i o n A , a l t h o u g h apparently t r a n s m i t t i n g t h e s a m e r e s p o n s o r y m e l o d i e s , h a d a d i f f e r e n t s y s t e m of a s s i g n i n g v e r s e t o n e s , a n d t h e t o n e s t h e m s e l v e s are d i f f e r e n t , t w o b e i n g p a r t i c u l a r l y c o m m o n . T o l e d o t r a d i t i o n B has f o u r tones, one c o m m o n .

R a n d e l h a s a l s o d i s c e r n e d t h e p r e s e n c e of s t a n d a r d p h r a s e s i n r e s p o n s o r i a l c h a n t s , i n t h e v e s p e r t i n i at t h e start of V e s p e r s . T y p e - m e l o d i e s , o n t h e o t h e r h a n d , u n d e r l i e the r e p e r t o r y of t h r e n i i n L e n t . S e v e r a l d i f f e r e n t t y p e s of chant s o m e t i m e s include long melismas with repeat s t r u c t u r e : the s o n i of the m o r n i n g a n d e v e n i n g services, the c l a m o r , laudes ( a l l e l u i a ) , a n d s a c r i f i c i u m ( o f f e r t o r y ) o f m a s s ( f a c s i m i l e s a n d c o p i e s i n B r o u 1 9 5 1 , ' A l l e l u i a ' ; see also H u s m a n n 1 9 5 8 - 6 1 ) . It is f r u s t r a t i n g t h a t t h e t w o c h a n t r e p e r t o r i e s w h i c h w e r e p r e s u m a b l y c l o s e s t to w h a t t h e F r a n k s k n e w b e f o r e t h e a d o p t i o n of R o m a n p r a c t i c e , t h e i r o w n G a l l i c a n c h a n t a n d t h a t of t h e s i s t e r l i t u r g y i n S p a i n , s h o u l d b o t h b e i n a c c e s s i b l e to u s . P o s s i b l e d i r e c t l i n k s b e t w e e n b o t h of t h e m a n d t h e G r e g o r i a n r e p e r t o r y w e r e m e n t i o n e d i n t h e last s e c t i o n , where Gallican offertories were discussed. T h e r e is o n e o t h e r way, h o w e v e r , i n w h i c h t h e O l d S p a n i s h c h a n t r e p e r t o r y m i g h t s h e d l i g h t o n t h e o r i g i n s of Gregorian chant. I h a v e d r a w m a t t e n t i o n to the g e n e r a l l y o r n a t e s t y l e of t h e O l d I t a l i a n c h a n t t r a d i t i o n s , w h i c h sets t h e m a p a r t f r o m the G r e g o r i a n . I n t h i s r e s p e c t O l d S p a n i s h c h a n t is m o r e a k i n t o G r e g o r i a n . P e r h a p s t h a t is a n o t h e r s m a l l i n d i c a t i o n t h a t G r e g o r i a n c h a n t i s t h e p r o d u c t of n o n - I t a l i a n m u s i c i a n s .

VIII.8.

C O N C L U S I O N S

van D i j k 1961, 1963, ' P a p a l , 1963, ' G r e g o r y ' , 1966; Stablein i n M M M A 2 ; H u c k e 1955, ' G r e g o r i a n i s c h e r ' , 1956, ' G r e g o r i a n and O l d R o m a n C h a n t ' , NG, 1980, ' V i e w ' ; N o w a c k i 1985. I n t h e last s e c t i o n it w a s a g a i n r e m a r k e d that a s y s t e m of e i g h t m o d e s a n d e i g h t t o n e s w h i c h c o m p l e m e n t t h e m f o r t h e s i n g i n g of o f f i c e p s a l m s a n d r e s p o n s o r y v e r s e s w a s u n i q u e i n the W e s t to G r e g o r i a n c h a n t . T h e eight-tone a r r a n g e m e n t , a n d the s m a l l e r n u m b e r of p s a l m - t o n e e n d i n g s b y c o m p a r i s o n w i t h O l d R o m a n c h a n t , h a v e s u g g e s t e d t o D y e r a c o n n e c t i o n w i t h t h e c h a n g e f r o m s o l o to c h o r a l p s a l m - s i n g i n g , a n o v e l t y of C a r o l i n g i a n p r a c t i c e . T h i s is o n e a m o n g m a n y r a d i c a l c h a n g e s b r o u g h t a b o u t b y t h e F r a n k i s h c h u r c h . O t h e r s are t h e o b l i g a t i o n of a l l c l e r i c s to c e l e b r a t e t h e f u l l r o u n d of o f f i c e h o u r s , t h e f i l l i n g o u t of t h e T e m p o r a l e a n d S a n c t o r a l e , a n d t h e e n l a r g e m e n t of the chant repertory w i t h sequences a n d tropes. T h e need for w r i t t e n records to s u p p o r t t h e h u g e e d i f i c e t h u s c o n s t r u c t e d l e d to the c o m p i l a t i o n o f t o n a r i e s a n d t h e use of m u s i c a l n o t a t i o n . A l l t h i s is F r a n k i s h i n n o v a t i o n . It s t i l l r e m a i n s , h o w e v e r , to t r y a n d s u m u p the r e l a t i o n s h i p b e t w e e n t h e t w o c h a n t s f o r t h e R o m a n l i t u r g y , t h a t is G r e g o r i a n a n d O l d R o m a n c h a n t . O n t h e o n e h a n d , t h e r e p e r t o r y c o d i f i e d b y t h e F r a n k s at t h e e n d of the n i n t h c e n t u r y ( e a r l i e r a c c o r d i n g t o s o m e ) is t h e G r e g o r i a n . O n t h e o t h e r h a n d , the o n l y c h a n t - b o o k s w r i t t e n i n R o m e i t s e l f , f r o m t h e e l e v e n t h to t h e t h i r t e e n t h c e n t u r y , h a v e O l d R o m a n c h a n t . Several scholars (notably S m i t s van Waesberghe, Jammers, and Stablein) have a r g u e d t h a t G r e g o r i a n c h a n t w a s c r e a t e d i n R o m e itself a n d c o e x i s t e d t h e r e w i t h O l d

R o m a n . T h e l i t u r g i s t S t e p h a n v a n D i j k a r g u e d i n a s e r i e s of a r t i c l e s t h a t G r e g o r i a n c h a n t w a s t h a t s u n g b y t h e p a p a l s c h o l a f o r t h e s p e c i a l l i t u r g i c a l use of t h e p a p a l c h a p e l . O l d R o m a n c h a n t w a s that of t h e c i t y c h u r c h e s . B u t , w h i l e t h e s p e c i a l p r a c t i c e o f t h e p a p a l c h a p e l is w e l l d o c u m e n t e d , it is b y n o m e a n s c l e a r t h a t a d i f f e r e n t w a y of s i n g i n g should have been created to a c c o m p a n y

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u n i q u e to o n e l i t u r g i c a l use o r a n o t h e r , the g r e a t m a j o r i t y of c h a n t s r e q u i r e d w o u l d b e c o m m o n t o a l l c h u r c h e s of R o m e . W e are s p e a k i n g o f v a r i a n t s u p o n t h e o n e Roman l i t u r g y , n o t d i f f e r e n c e s of t h e s o r t that d i v i d e R o m a n f r o m M i l a n e s e o r O l d S p a n i s h u s e . N o r d o e s it s e e m l i k e l y , o n the face of i t , that t h e G r e g o r i a n r e p e r t o r y , w h i c h is rather sober and s i m p l e w h e n compared with O l d R o m a n , s h o u l d have been created as p a r t of a n a t t e m p t t o i m i t a t e 'the m a j e s t i c c o u r t c e r e m o n i a l of B y z a n t i u m ' , as v a n D i j k p u t it ( 1 9 6 6 , 3 0 2 ) . T h e e x a m p l e of B e n e v e n t o is i m p o r t a n t h e r e . O l d B e n e v e n t a n chant a n d G r e g o r i a n d i d i n d e e d exist s i d e b y s i d e , b u t as r e p r e s e n t a t i v e s rites, the aboriginal Beneventan a n d the invading Roman of t w o different disappear. M u c h w o r k has s t i l l to b e d o n e to u n d e r s t a n d t h e m u s i c a l r e l a t i o n s h i p s between G r e g o r i a n a n d O l d R o m a n c h a n t . T h i s has to p r o c e e d at t w o l e v e l s . W h e r e t h e r e is n o d e m o n s t r a b l e m u s i c a l r e l a t i o n s h i p , as f o r e x a m p l e i n m a n y o f f e r t o r i e s , o n e n e e d s t o ask w h y t h i s s h o u l d b e s o , w h i c h i n v o l v e s t h e h i s t o r y of t h e l i t u r g i c a l p r a c t i c e o f t h a t g e n r e o f c h a n t a n d t h e p a r t i c u l a r s e r v i c e of w h i c h it is p a r t . W h e r e a m u s i c a l s i m i l a r i t y e x i s t s , w h a t is c o m m o n a n d w h a t is d i s s i m i l a r has t o b e e x p l a i n e d , i n v o l v i n g m i n u t e a n a l y s i s of i d i o m a n d f o r m . I n V I I I . 3 a b o v e a n u m b e r of i n s t a n c e s w e r e c i t e d o r s p e a k i n g of g r a d u a l s , a n d seeing the e x e m p l i f i e d , w h e r e t h e s a m e m u s i c a l i d e a w a s r e a l i z e d i n d i f f e r e n t w a y s , e a c h w i t h its o w n c h a r a c t e r i s t i c t u r n s of p h r a s e . H u c k e (NG), G r e g o r i a n v e r s i o n s as ' c o n s i s t e n t a d a p t a t i o n s o f t h e O l d R o m a n o n e s ' , has c a l l e d t h i s 'a t r a n s l a t i o n f r o m a f o r e i g n m u s i c a l language'. B e h i n d t h i s lies the c o n v i c t i o n that t w o d i f f e r e n t p e o p l e s w e r e c o n c e r n e d , the F r a n k s a n d t h e R o m a n s , n o t t w o g r o u p s of The can m u s i c i a n s w i t h i n R o m e i t s e l f . B y e x t e n s i o n , o n e s h o u l d t h e n ask i n t o w h i c h l a n g u a g e w a s R o m a n t r a n s l a t e d ? ( T o w h i c h the o n l y a n s w e r is a t y p e o f G a l l i c a n c h a n t ) . e v i d e n c e to p r o v e o r d i s p r o v e t h i s thesis is, h o w e v e r , l a c k i n g . W h i l e a n a l y s i s a n d it s e e m s u n l i k e l y t h a t O l d S p a n i s h c h a n t w i l l p r o v i d e a n a d e q u a t e respectively.

G i v e n t h e e v e n t u a l d o m i n a n c e of the R o m a n r i t e , O l d B e n e v e n t a n c h a n t w a s b o u n d to

e s t a b l i s h w h a t c o n s t i t u t e s a G r e g o r i a n i d i o m , p a r a l l e l G a l l i c a n e x a m p l e s are l a c k i n g , substitute. S i n c e the c o d i f i c a t i o n of t h e G r e g o r i a n r e p e r t o r y p r e c e d e d t h a t of t h e O l d R o m a n b y s o m e 2 0 0 y e a r s , it w a s p o s s i b l e f o r the G r e g o r i a n t r a d i t i o n t o i n f l u e n c e t h e O l d R o m a n at t h e t i m e o f its w r i t i n g d o w n . T h e r e are s i g n s t h a t t h i s h a p p e n e d . N o t o n l y w e r e G r e g o r i a n p i e c e s t a k e n u p i n R o m e i t s e l f ( f o r e x a m p l e , t h e c a n t i c a of Holy S a t u r d a y , n u m e r o u s a l l e l u i a s , n o t to m e n t i o n F r a n k i s h s e q u e n c e s , a l l e l u i a p r o s u l a s , o r d i n a r y - o f - m a s s c h a n t s a n d the l i k e ) . T h e r e are p e c u l i a r i t i e s i n t h e r e a d i n g s o f s o m e Old R o m a n chants w h i c h suggest ' c o n t a m i n a t i o n ' b y G r e g o r i a n v e r s i o n s (Hucke 1980, ' O f f e r t o r i e n ' ) , as if the O l d R o m a n n o t a t o r h a d a G r e g o r i a n c h a n t - b o o k to h a n d . ( A s H u c k e p o i n t s o u t , n o t a t i o n m u s t h a v e first b e c o m e k n o w n i n R o m e t h r o u g h t h e m e d i u m of G r e g o r i a n books.)

G i v e n t h e e v i d e n c e of a c o n t i n u i n g o r a l t r a d i t i o n i n R o m e e v e n past t h e t i m e of t h e e a r l i e s t n o t a t e d b o o k s , it s e e m s to m e i m p o s s i b l e that t h e y s h o u l d r e p r e s e n t i n all d e t a i l s t h e m e l o d i e s s u n g to t h e F r a n k s i n t h e e i g h t h c e n t u r y . S i n c e B e n e v e n t a n a n d M i l a n e s e c h a n t is g e n e r a l l y as o r n a t e i n i d i o m as O l d R o m a n , I t h i n k it h i g h l y l i k e l y t h a t t h e R o m a n c h a n t of t h e e i g h t h c e n t u r y a l r e a d y h a d a n o r n a t e i d i o m , i n o t h e r w o r d s , t h a t O l d R o m a n c h a n t p r e s e r v e s t h e s p i r i t , if n o t a l w a y s t h e l e t t e r , of the e i g h t h - c e n t u r y state. T o t h i s extent, the o f t - q u o t e d r e m a r k s of J o h a n n e s H y m m o n i d e s ( J o h n t h e D e a c o n : P L 7 5 . 9 0 , S t a b l e i n i n M M M A 2 1 4 3 * , v a n D o r e n 1925, 53) c a r r y c o n v i c t i o n : t h e c l u m s y F r a n k i s h s i n g e r s w e r e t o o i n e x p e r t to m a n a g e t h e fine d e t a i l o f the R o m a n melodies. T h e theme w a s l a t e r t a k e n u p b y A d h e m a r of (Chronicon, Chabannes II. 8, ed. One the ( d . 1034) w h o r e f e r s to t h e ' t r e m u l a s v e l v i n n o l a s s i v e c o l l i s i b i l e s v e l s e c a b i l e s v o c e s ' o f the R o m a n s , i n so f a r as o n e c a n u n d e r s t a n d t h e s e t e r m s C h a v a n o n 1 8 9 7 , 8 1 ; c i t e d v a n D o r e n 1925, 5 3 , H u c k e 1954, ' E i n f u h r u n g ' , 1 8 1 ) . w o u l d n o t c a l l t h e G r e g o r i a n m e l o d i e s c l u m s y ; b u t it s e e m s c o n c e i v a b l e t h a t F r a n k s s a n g the R o m a n c h a n t s i n a m o r e s t r a i g h t f o r w a r d i d i o m t h a n the

Romans

t h e m s e l v e s , s o m e t h i n g p e r h a p s m o r e a k i n to t h a t of t h e i r n a t i v e t r a d i t i o n s . T h a t is a m a t t e r of s u r f a c e d e t a i l . A s r e g a r d s l e a r n i n g t h e s t a n d a r d f o r m u l a s , t y p e - m e l o d i e s a n d the m e t h o d s of u s i n g t h e m , the F r a n k i s h singers were e v i d e n t l y very s u c c e s s f u l .

Persons and Places

IX.1. I N T R O D U C T I O N

T h i s c h a p t e r w i l l i n e v i t a b l y s e e m i n c o m p l e t e to t h o s e s e e k i n g a f u l l a n d b a l a n c e d a c c o u n t of t h e h i s t o r y o f p l a i n c h a n t i n a l l t h e v a r i o u s c h u r c h e s of W e s t e r n d u r i n g the M i d d l e A g e s . A t present, account, Europe h o w e v e r , it is n o t p o s s i b l e to w r i t e s u c h a n

f o r i n v e s t i g a t i o n of t h e v a r i o u s c h a n t t r a d i t i o n s h a s so f a r p r o c e e d e d v e r y v e n t u r e d a few remarks o n l y on those persons a n d places, those

u n e v e n l y , a n d f u l l c o v e r a g e w o u l d i n a n y case e x c e e d t h e p r o p e r l i m i t s of t h i s b o o k . I have therefore m u s i c i a n s , c h u r c h m e n , a n d c h u r c h e s , that h a v e a t t r a c t e d p a r t i c u l a r a t t e n t i o n so f a r , o r t h a t I m y s e l f h a v e f o u n d p a r t i c u l a r l y i n t e r e s t i n g . T h e p u r p o s e of t h e c h a p t e r is p a r t l y to p o i n t r e a d e r s i n t h e d i r e c t i o n of i n f o r m a t i o n t h e y m a y b e s e e k i n g , b u t p a r t l y a l s o t o g i v e a n i d e a of t h e s o r t of r e s e a r c h w h i c h h a s b e e n c a r r i e d o u t , its a i m s a n d methods. I n d i v i d u a l creation, o r i g i n a l c o m p o s i t i o n , calls for i n d i v i d u a l a p p r e c i a t i o n . patient c o m p a r i s o n of s o u r c e s has to be c a r r i e d o u t . Scholars But b e f o r e o n e c a n d e c i d e w h a t is i n d i v i d u a l i n a p a r t i c u l a r m a n u s c r i p t , a g r e a t d e a l of have developed a n u m b e r of s h o r t c u t s , as it w e r e , to f a c i l i t a t e c o m p a r i s o n s a n d h i g h l i g h t s i m i l a r i t i e s a n d d i f f e r e n c e s b e t w e e n s o u r c e s , a n d s o m e of t h e s e are r e p e a t e d l y m e n t i o n e d i n w h a t f o l l o w s . S o m e are r e p e r t o r i a l : the c h o i c e of a l l e l u i a s at m a s s f o r t h e S u n d a y s Pentecost differences, sources, after a n d of r e s p o n s o r i e s f o r t h e S u n d a y s of A d v e n t ; o t h e r s c o n c e r n m u s i c a l v a r i a n t s i n t h e d e t a i l of m e l o d i e s ( t h e s e m e t h o d s are o u t l i n e d b r i e f l y finding o n e ' s b e a r i n g s i n a n o c e a n of e v i d e n c e , o n a v e r i t a b l e first that t h e r e a d e r w i l l f o r g i v e t h e piecemeal

a b o v e , I I I . 15). S u c h c o m p a r i s o n s are n a t u r a l l y o n l y a first s t e p i n t h e e v a l u a t i o n o f a m e a n s of m o u n t a i n of m a n u s c r i p t s . Y e t , f o r m a n y s o u r c e s l i t t l e p r o g r e s s b e y o n d t h e s e steps has been m a d e . I h o p e , therefore, c o r n e r s of c h a n t h i s t o r y i n t h e W e s t . F r o m t i m e to t i m e r e a d e r s m a y w e l l find t h e m s e l v e s a s k i n g , w h a t w a s c h a n t l i k e at S t G a l l , at C l u n y , at M o n t e c a s s i n o ? T h e a n s w e r is t h a t i n m o s t r e s p e c t s it w a s l i k e c h a n t a n y w h e r e else. R a r e l y d o e s t h e r e p e r t o r y of a c h u r c h s t a n d o u t b y r e a s o n o f i t e m s w h i c h are u n i q u e i n s t y l e , o r e v e n i t e m s w h i c h are u n i q u e b u t s i m i l a r t o o t h e r s . And the small differences i n detail w h i c h help d i s t i n g u i s h one m a n u s c r i p t f r o m a n o t h e r are of b i b l i o g r a p h i c a l r a t h e r t h a n p u r e l y m u s i c a l i n t e r e s t . N o d o u b t , i f o n e

a p p r o a c h a n d gain some benefit f r o m these brief visits to s o m e of the m o r e i n t e r e s t i n g

h a d b e e n a b l e t o v i s i t t h e p l a c e s i n q u e s t i o n , one w o u l d h a v e b e e n a b l e t o d i s t i n g u i s h t h e s i n g i n g of o n e m e d i e v a l s c h o l a f r o m a n o t h e r . B u t it w o u l d p r o b a b l y b e b y v i r t u e of a s p e c t s of p e r f o r m a n c e s u c h as v o i c e p r o d u c t i o n , t e m p o , a n d d y n a m i c , n o n e of w h i c h is r e f l e c t e d i n t h e m a n u s c r i p t s o u r c e s t h a t h a v e c o m e d o w n to u s . T h e first s e c t i o n i n t h i s p a r t of t h e h i s t o r i c a l s u r v e y is a b o u t A m a l a r i u s a n d M e t z i n t h e s e c o n d q u a r t e r of t h e n i n t h c e n t u r y , w h i c h c o n t i n u e s t h e s t o r y f r o m C h . V I I a n d i l l u m i n a t e s s o m e of t h e c o n s e q u e n c e s of t h e C a r o l i n g i a n s e t t l e m e n t . S t G a l l Benevento examples repertory. T h e s e sections c o n c e r n i m p o r t a n t h i s t o r i c a l d e v e l o p m e n t s i n the c h a n t But William of D i j o n ' s b r i n g i n g of c h a n t to a p r e v i o u s l y d e v a s t a t e d repertory. Normandy and Montecassino of p l a c e s w h i c h m a d e particularly significant contributions to the (IX.3), chant ( I X . 8 ) , a n d L i m o g e s ( I X . 10) are m e n t i o n e d as t h r e e

( I X . 5 ) , a n d t h e c h a p t e r s o n c h a n t i n E n g l a n d , S p a i n , a n d n o r t h a n d east E u r o p e a n countries ( I X . 6 , 1 1 - 1 2 ) , c o n c e r n the i m p l a n t a t i o n of a p r e v i o u s l y f o r m e d b o d y of entered m u s i c i n n e w t e r r i t o r y . O n l y i n t h e case of N o r m a n d y a n d E n g l a n d h a v e I

i n t o d e t a i l , i n o r d e r t o e x p l a i n a t y p e of d e v e l o p m e n t w h i c h w a s r e p e a t e d , w i t h l o c a l v a r i a t i o n s , i n m a n y o t h e r a r e a s . F o r t h e last t w o s e c t i o n s I h a v e l i m i t e d m y s e l f l a r g e l y to m e n t i o n i n g r e c e n t research. There w a s a p o l i t i c a l d i m e n s i o n to a l m o s t a l l t h e s e T h e b r i n g i n g of a c h a n t r e p e r t o r y to a n y of t h e s e n e w l a n d s m i r r o r s t h e F r a n k i s h i m p o r t a t i o n of R o m a n c h a n t . e n t e r p r i s e s , i n t h a t t h e l o c a l r u l e r p r a c t i c a l l y a l w a y s t o o k the i n i t i a t i v e i n d e c i d i n g w h o s h o u l d c o m e a n d initiate, restore, or r e f o r m w o r s h i p i n his d o m a i n . T h e initiative of Pippin and Charlemagne It may surprise some is e c h o e d l a t e r b y R i c h a r d of N o r m a n d y , w h o brought as for W i l l i a m n o r t h f r o m D i j o n , b y E d g a r of E n g l a n d , a n d so o n . readers that s o m e o b v i o u s l y i m p o r t a n t centres such Chartres and Paris, or Weingarten and Regensburg, for e x a m p l e , has b e e n have not been s i n g l e d out

s p e c i a l m e n t i o n . T h e l i t u r g y a n d c h a n t of P a r i s i n t h e t w e l f t h t o t h i r t e e n t h

centuries, Wright is, alas,

t h e s u b j e c t of m u c h i n t e n s i v e s t u d y ( m o s t r e c e n t l y

1 9 8 9 ) , l a r g e l y b e c a u s e of t h e p o l y p h o n y s u n g t h e r e . S u c h s t u d i e s c o u l d be a n d i n s o m e cases h a v e b e e n m a d e f o r d o z e n s of c h u r c h e s a c r o s s E u r o p e . T h e r e s i m p l y n o space to r e p o r t t h e m a l l here, t h o u g h I have i n d i c a t e d the m o r e editions chapters. Map I X . 1 s h o w s t h e a r c h d i o c e s e s of L a t i n C h r i s t i a n i t y t o w a r d s t h e e n d of reorganizations T o some extent the b o u n d a r i e s reflect the the M i d d l e A g e s . B e c a u s e of n u m e r o u s of c h u r c h a d m i n i s t r a t i o n it is of liturgical books or particular repertories where possible in important previous

strictly accurate for no p a r t i c u l a r date.

n a t i o n a l d i v i s i o n s of t h e e a r l y M i d d l e A g e s . T h u s t h e a r c h d i o c e s e of L u n d i n c l u d e d D e n m a r k a n d w h a t is n o w s o u t h e r n S w e d e n , l i k e t h e m e d i e v a l k i n g d o m of D e n m a r k . T h e d i o c e s e o f R i g a is a p r o d u c t of t h e s e t t l e m e n t s of the G e r m a n o r d e r s of k n i g h t s . T h e H o l y R o m a n o r G e r m a n E m p i r e i n c l u d e d i n t h e west the d i o c e s e s of C o l o g n e , T r i e r , B e s a n g o n , V i e n n e , a n d A r i e s , i n t h e east M a g d e b u r g , P r a g u e ( f o r t h e k i n g d o m of B o h e m i a ) , a n d S a l z b u r g . F u r t h e r east lay the P o l i s h a n d H u n g a r i a n archdioceses. D u r i n g the M i d d l e A g e s L a t i n C h r i s t i a n i t y was still e x p a n d i n g eastwards, a n d S p a i n

/.

Introduction

M a p I X . 1.1. T h e archdioceses of late medieval E u r o p e

w a s b e i n g r e c o n q u e r e d f r o m t h e M o o r s , so that the P o r t u g u e s e d i o c e s e o f L i s b o n , a n d the S p a n i s h ones of Santiago and Toledo, moved correspondingly south. The which a r c h d i o c e s e of S e v i l l e w a s o n l y e s t a b l i s h e d i n 1248, t h a t of G r a n a d a o n l y i n M a p s I X . 2 , 3, a n d 4 i n d i c a t e s o m e of the m o r e i m p o r t a n t c h u r c h e s f r o m 1492.

chant sources have s u r v i v e d , i n Italy, G e r m a n y , and France, respectively. T h e maps are i n t e n d e d t o p r o v i d e s o m e o r i e n t a t i o n d u r i n g the r a p i d c o u r s e of t h i s c h a p t e r . M a p I X . 1.2. Ecclesiastical m a p of Italy

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IX.2.

A M A L A R I U S

O F

M E T Z Roger E v a n s 1977, Huglo 1979,

Hanssens 1 9 4 8 - 5 0 , Cabaniss 1954, L i p p h a r d t 1965, ' R e m a n i e m e n t s ' , Hesbert 1980, ' A m a l a r ' .

D e s p i t e t h e e f f o r t s of P i p p i n a n d C h a r l e m a g n e t o a c h i e v e u n i f o r m i t y of replaced the G a l l i c a n , the everywhere. Benedictine and Roman forms of the

practice, were self-

m u c h of t h e d e t a i l of l i t u r g i c a l o b s e r v a n c e w a s n e v e r s t a n d a r d i z e d . T h e R o m a n m a s s office or e s t a b l i s h e d . B u t the texts a n d chants p e r f o r m e d d u r i n g these services c o u l d not be m a d e the same R o m a n exemplars were lacking, inadequate, c o n t r a d i c t o r y , a n d h a d to b e s u p p l e m e n t e d f o r F r a n k i s h u s e . T h i s c a n b e d o c u m e n t e d for the n u m e r o u s sacramentaries ( c o l l e c t i o n s of p r a y e r s f o r m a s s ) , a n d t h e r e is n o indicate that way r e a s o n to s u p p o s e t h a t t h i n g s w e r e m u c h d i f f e r e n t f o r c h a n t t e x t s . T h e e a r l i e s t s o u r c e s of c h a n t t e x t s f o r t h e p r o p e r of m a s s ( t h o s e e d i t e d b y H e s b e r t i n /IMS) the basic c o r p u s was established in Charlemagne's time, if n o t e a r l i e r . T h e

d i f f e r e n c e s c o u l d arise i n t h e c h o i c e a n d a r r a n g e m e n t of o f f i c e t e x t s i s i l l u s t r a t e d b y t h e a c t i v i t i e s of A m a l a r i u s of M e t z ( r . 7 7 5 - c . 8 5 0 ) . A s to t h e m u s i c f o r t h e s e t e x t s , w h i l e w e c a n m a r v e l at t h e r e l a t i v e u n i f o r m i t y of t h e e a r l i e s t p r e s e r v e d c o p i e s , are n u m e r o u s d i f f e r e n c e s of d e t a i l b e t w e e n t h e m . A m a l a r i u s m a y h a v e b e e n e d u c a t e d u n d e r A l c u i n at T o u r s o r A a c h e n , a n d h e is thought to have been a r c h b i s h o p of T r i e r b e t w e e n 809 a n d 814. H e knew the B y z a n t i n e l i t u r g y f r o m an i m p e r i a l m i s s i o n to C o n s t a n t i n o p l e i n 8 1 3 - 1 4 . H e r e t u r n e d v i a R o m e , a n d h a d a n o t h e r o p p o r t u n i t y to l e a r n R o m a n p r a c t i c e at first h a n d o n a m i s s i o n i n 8 3 0 - 1 . H e m a y h a v e b e e n d i r e c t o r of t h e p a l a c e s c h o o l at A a c h e n i n t h e 830s ( H a n s s e n s , Liber officialis i . 68 f f . ) . H e is f a m o u s c h i e f l y f o r t w o w o r k s o n t h e l i t u r g y . The ( H a n s s e n s , ii) e x p l a i n s t h e t h e o l o g i c a l a n d s p i r i t u a l s i g n i f i c a n c e o f e a c h there

p a r t of t h e l i t u r g y , t e x t s t h r o u g h t h e c h u r c h y e a r , a n d h o w it is p e r f o r m e d . T h o u g h i t s c o n t e n t is c h i e f l y h e r m e n e u t i c a l , it c o n v e y s a lot of d e t a i l a b o u t e a r l y n i n t h - c e n t u r y practice. antiphonarii 1977) refer destination The Prologus de ordine antiphonarii (r.831) and Liber de ordine its a be (r.840) (Hanssens, i . 361-3, i i i . 9-109 to a n a n t i p h o n e r that is unclear. in Its contents with the are Old noted respectively; trans. Roger Evans though in in some detail. Hanssens,

A m a l a r i u s p r o p o s e d to i n t r o d u c e ,

m a g n i f i c e n t a p p e n d i x ( i i i . 1 1 0 - 2 2 4 ) , sets o u t i t s c o n t e n t s , reconstructed, parallel Roman

as f a r as t h e y c a n Rome,

antiphoner

Biblioteca

A p o s t o l i c a V a t i c a n a , S a n P i e t r o B . 7 9 , o n e of t h e e a r l i e s t G r e g o r i a n a n t i p h o n e r s , P a r i s , B i b l i o t h e q u e N a t i o n a l e , l a t . 17436 ( t e x t s o n l y ) , a n d o n e of t h e e a r l i e s t n o t a t e d antiphoners (St G a l l , Stiftsbibliothek 3 9 0 - 3 9 1 ) . T h e d i f f e r e n c e s b e t w e e n A m a l a r i u s a n d t h e o t h e r s o u r c e s are v e r y i n t e r e s t i n g a n d i m p o r t a n t , b u t it is t h e s p i r i t b e h i n d t h e m w h i c h i n t e r e s t s u s h e r e . A m a l a r i u s w a s c o n c e r n e d , l i k e H e l i s a c h a r b e f o r e h i m (see V I 1 . 2 ) a n d A u r e l i a n a f t e r h i m ( V . 4 ) , w i t h t h e l i t e r a l sense of r e s p o n s o r i e s a n d t h e i r r e p e a t s t r u c t u r e . B u t h e t e l l s u s t h a t m a n y series of p i e c e s i n R o m e w e r e s i m p l y g i v e n as sets f r o m w h i c h a c h o i c e c o u l d b e m a d e

( t h i s is s t i l l t h e case i n the n i n t h - c e n t u r y a n t i p h o n e r P a r i s 1 7 4 3 6 ) . A m a l a r i u s w o u l d p r e f e r a l o g i c a l o r d e r , s u c h as the o r d e r of v e r s e s as t h e y a p p e a r i n t h e B i b l e . A n d t h e r e are i n d e e d m a n y e x a m p l e s of s u c h n u m e r i c a l o r d e r i n g i n the G r e g o r i a n g r a d u a l , t h o u g h n o t n e c e s s a r i l y d u e to A m a l a r i u s ' p r o m p t i n g ; it m a y be t h a t he w i s h e d to a p p l y to o f f i c e c h a n t s a p r i n c i p l e a l r e a d y w e l l e s t a b l i s h e d at m a s s . H e t e l l s us t h a t i n h i s a n t i p h o n e r he m a r k s c h a n t s a c c o r d i n g to the usage he p r e f e r s : ' R ' f o r R o m e , ' M ' f o r M e t z a n d ' I C f o r t h e ' i n d u l g e n t i a ' a n d ' c a r i t a s ' w h i c h he r e q u e s t s to b e e x t e n d e d t o his o w n individual choice. A m a l a r i u s w a s a p p o i n t e d to the see of L y o n i n 835 a f t e r its p r e v i o u s a r c h b i s h o p A g o b a r d ( 8 1 4 - 3 5 / 8 3 8 - 4 0 ) h a d b e e n e x i l e d . B u t it w a s n o t d i f f i c u l t f o r A g o b a r d a n d his archdeacon F l o r u s to s t i r u p t r o u b l e a b o u t Amalarius' writings, which were A c o n d e m n e d at a s y n o d i n Q u i e r z y i n 8 3 8 , w h e r e u p o n A g o b a r d r e g a i n e d h i s see.

j u s t i f i c a t o r y l e t t e r of A g o b a r d of 8 3 8 , p r e s e n t e d as a ' P r a e f a t i o a n t i p h o n a r i i e c c l e s i a e L u g d u n e n s i s ' i n o n e s o u r c e , g e n e r a l l y c a l l e d t h e ' L i b e r de c o r r e c t i o n e a n t i p h o n a r i i ' ( M G H Epistolae Karolini aevi, i i i . 238; P L 104. 3 2 9 - 5 0 ) , e x p l a i n s t h e r e a s o n s f o r also c o n d e m n A m a l a r i u s ' texts. A g o b a r d ' s o w n r e v i s i o n of the a n t i p h o n e r , t h e r e m o v a l of w h a t w a s ' s u p e r f l u o u s , mendacious, or blasphemous'. innovations. H u g l o (1979, 'Remaniements') F l o r u s ' w r i t i n g s ( P L 119) Agobard's revision chiefly consisted in removing non-biblical

g i v e s n u m e r o u s e x a m p l e s of A g o b a r d ' s r e v i s i o n s a n d dioceses. have too, 14, a

o t h e r s c a r r i e d o u t i n l i k e s p i r i t i n t h e b o o k s of L y o n a n d n e i g h b o u r i n g i n s p i r e d d i s t r u s t of t r o p i n g i n s o m e subsequently churches (Gy 1983). T h e

H y m n s were not s u n g i n L y o n before the t w e l f t h century, a n d A g o b a r d m a y Carthusians, Plate e l i m i n a t e d n o n - s c r i p t u r a l texts f r o m their liturgy. (In

C a r t h u s i a n m a n u s c r i p t , the s c r i p t u r a l s o u r c e s of c h a n t s are n o t e d i n t h e L o u i s , f o r t h e y h a d b e e n g i v e n to A b b o t W a l a of C o r b i e ( i n 8 2 5 ) . to H a d r i a n I ( 7 7 2 - 9 5 ) ( H a n s s e n s , i . 3 6 1 , i i i . 14).

margin.) Emperor

I n R o m e , A m a l a r i u s w a s u n a b l e to o b t a i n a R o m a n a n t i p h o n e r f o r t h e

T r a v e l l i n g to

C o r b i e , t h e r e f o r e , he w a s finally a b l e to c o n s u l t a ' r e s p o n s o r i a l e ' b e a r i n g a n a t t r i b u t i o n W h a t e v e r t h e d e s t i n a t i o n of A m a l a r i u s ' a n t i p h o n e r , it d o e s n o t s e e m to h a v e b e e n t a k e n u p i n M e t z , i n o r n e a r w h i c h he l i v e d i n the latter p a r t of h i s l i f e . T h i s is c l e a r from a comparison with the ninth-century tonary of M e t z ( M e t z , Bibliotheque ('M'). We and M u n i c i p a l e 3 5 1 , e d . L i p p h a r d t 1 9 6 5 ; see 2 0 2 - 1 1 , also H e s b e r t 1980, ' A m a l a r ' ) . B u t t h e t o n a r y d o e s not agree w i t h w h a t A m a l a r i u s h i m s e l f says w a s M e t z p r a c t i c e T h e s e c o m p l i c a t i o n s are w i t n e s s to a p e r i o d of promulgated at the Council of Aachen in fluidity 817, in liturgical repertories. both revision

m a y s u r m i s e that t h e l i t u r g i c a l r e f o r m s of B e n e d i c t of A n i a n e ( r . 7 5 0 - 8 2 1 ) , o f f i c i a l l y occasioned c o d i f i c a t i o n , at least i n m o n a s t i c r e p e r t o r i e s . B u t t h e i r exact w o r k i n g s o u t i n e x t a n t l i t u r g i c a l b o o k s is u n c l e a r . C a r e f u l c o m p a r i s o n of t h e i r r e p e r t o r i e s has e n a b l e d L i p p h a r d t a n d H u g l o to t r a c e r e l a t i v e s of t h e M e t z t o n a r y i n a n u m b e r of later s o u r c e s : f r o m R e i c h e n a u S t a a t s b i b l i o t h e k l i t . 5 , of t h e y e a r 1 0 0 1 ) , f r o m Q u e d l i n b u r g ( B e r l i n , M u s . 40047, r.1020), and f r o m N o n a n t o l a ( R o m e , Biblioteca Casanatense (Bamberg, 54, early Staatsbibliothek, reform

e l e v e n t h c e n t u r y ) . L i p p h a r d t c o n n e c t s t h i s w i t h the effects of t h e m o n a s t i c

3. movement Metz

St

Gall

571

of G o r z e , w h i c h lies a f e w m i l e s w e s t of M e t z . G o r z e w a s f o u n d e d b y It a n d its a s s o c i a t e d house St Maximin at T r i e r b e c a m e w i d e l y The (see

C h r o d e g a n g of M e t z , a n d r e v i v e d a f t e r a p e r i o d of d e c l i n e b y B i s h o p A d a l b e r o of (919-62). i n f l u e n t i a l i n t h e s e c o n d h a l f of t h e t e n t h c e n t u r y , i n t r o d u c i n g r e f o r m s of m o n a s t i c observance i n t o n u m e r o u s h o u s e s at the b e h e s t of e c c l e s i a s t i c a l o r l a y p a t r o n s . r e f o r m c a m e t o R e i c h e n a u i n the t i m e of A b b o t R u o d m a n n ( 9 7 2 - 8 5 ) i n the p e r s o n of S a n d r a t of S t M a x i m i n i n T r i e r . T h e e f f e c t of s u c h r e f o r m s as t h a t of G o r z e H a l l i n g e r 1 9 5 0 - 1 ) a n d l a t e r H i r s a u i n t h e B l a c k F o r e s t ( J a k o b s 1961) u p o n m o n a s t i c d i s c i p l i n e is w e l l d o c u m e n t e d , b u t it is f a i r to say t h a t t h e i r c o n s e q u e n c e s f o r t h e c h a n t r e p e r t o r y h a v e n o t b e e n i n v e s t i g a t e d i n s u f f i c i e n t d e t a i l . T h e e x a m p l e of C l u n y is discussed below.

IX.3.

ST

G A L L

S c h u b i g e r 1858; M a r x e r 1908; van D o r e n 1925; C l a r k 1926; Scheiwiler 1938; v o n den Steinen 1948; L a b h a r d t 1 9 5 9 - 6 3 . It is u n u s u a l f o r a c h a n t m a n u s c r i p t as o l d as M e t z , B i b l i o t h e q u e M u n i c i p a l e 351 to

s u r v i v e f r o m a c a t h e d r a l c h u r c h . M o s t of t h e h i s t o r y of c h a n t i n t h e n i n t h a n d t e n t h c e n t u r i e s has t o b e r e c o n s t r u c t e d f r o m m o n a s t i c b o o k s . T h e m o n a s t e r i e s w e r e v i t a l f o r securing the foundations of the C a r o l i n g i a n renaissance. The earliest surviving t o n a r y , P a r i s , B i b l i o t h e q u e N a t i o n a l e , l a t . 1 3 1 5 9 , is f r o m S a i n t - R i q u i e r ; o n e of S a i n t R i q u i e r ' s a b b o t s , A n g i l b e r t , w a s C h a r l e m a g n e ' s s o n - i n - l a w . A v a l u a b l e d e s c r i p t i o n of the m o n a s t e r y , its l i b r a r y , a n d s o m e of its l i t u r g i c a l c e r e m o n i a l d u r i n g A n g i l b e r t ' s t i m e s u r v i v e s ( e d . L o t 1 8 9 4 ) , w h i c h s t o p s j u s t s h o r t of p r o v i d i n g t h e d e t a i l a b o u t p e r f o r m a n c e p r a c t i c e u s e f u l f o r t h e m u s i c o l o g i s t (see H e i t z 1 9 6 3 ) . W a l a of C o r b i e , j u s t m e n t i o n e d as h a v i n g c a r r i e d o f f a n a n t i p h o n e r d u r i n g a m i s s i o n to R o m e , w a s also related to the where Stephen r o y a l f a m i l y . C o r b i e p l a y e d a l e a d i n g r o l e i n the development has also of C a r o l i n e m i n u s c u l e s c r i p t (the a n c e s t o r of t h e t y p e u s e d i n t h i s b o o k ) . II a n d his chapel stayed w h i l e v i s i t i n g P e p i n i n 752, Its a b b o t , mentioned (VIII.2.iv). Saint-Denis, been was

H i l d u i n , responsible for the ' m i s s a graeca',

L o u i s t h e P i o u s ' s a r c h c h a n c e l l o r . C u r i o u s l y , as w e l l as t h e t o n a r y f r o m S a i n t - R i q u i e r , we have graduals w i t h tonal i n d i c a t i o n s i n early sources f r o m b o t h C o r b i e a n d SaintDenis: Paris, Bibliotheque N a t i o n a l e , lat. 12050, L a o n , B i b l i o t h e q u e M u n i c i p a l e century 118, a n d t h e ' M o n t - R e n a u d ' m a n u s c r i p t , a l l of t h e late n i n t h o r e a r l y t e n t h

( I I I . 1 4 . i i i ) . N o n e w e r e o r i g i n a l l y n o t a t e d , t h o u g h the last w a s p r o v i d e d w i t h n o t a t i o n a r o u n d t h e e n d of t h e t e n t h c e n t u r y . T h e c h a n t t r a d i t i o n of C o r b i e a n d S a i n t - D e n i s , as r e v e a l e d b o t h i n its s e l e c t i o n of c h a n t s a n d t h e m e l o d i c d e t a i l of t h o s e c h a n t s , c l o s e l y s i m i l a r , a n d o n e w o u l d l i k e to k n o w if t h i s reflects the p e r i o d w h e n m o n a s t e r i e s w e r e so i n t i m a t e l y l i n k e d to t h e C a r o l i n g i a n l i t u r g i c a l r e f o r m s . O n e of t h e first a n d o n e of t h e o n l y m o n a s t e r i e s b e f o r e t h e e n d of t h e m i l l e n n i u m f r o m w h i c h n o t a t e d m a n u s c r i p t s h a v e b e e n p r e s e r v e d i n a n y n u m b e r s is S t s o u t h - e a s t of L a k e C o n s t a n c e . T h e e a r l i e s t , t h e c a n t a t o r i u m S t G a l l , Gall, Stiftsbibliothek was both

359

( P a l M u s 11/2), is u s u a l l y d a t e d a r o u n d 9 0 0 .

L a t e r i n the c e n t u r y

appear

the 484

g r a d u a l S t G a l l 339 ( P a l M u s 1) a n d t w o s o u r c e s of s e q u e n c e s a n d t r o p e s , S t G a l l c o r r e c t , t h e m a n u s c r i p t m u s t h a v e b e e n k n o w n b y N o t k e r B a l b u l u s ('the

a n d 381 ( f a c s i m i l e i n p r e p a r a t i o n b y A r l t a n d R a n k i n ) . If t h e d a t i n g of S t G a l l 359 is Stammerer', d . 9 1 2 ) , t h e f a m o u s a u t h o r of a l i f e of C h a r l e m a g n e a n d n u m e r o u s s e q u e n c e t e x t s , a n d T u o t i l o ( d . 9 1 5 ) , w h o is r e p u t e d to h a v e c o m p o s e d t r o p e s w h i l e p l a y i n g o n h i s r o t t a (a t y p e of t r i a n g u l a r p s a l t e r y ) . N o t k e r ' s a c c o u n t of t h e d i f f i c u l t i e s of F r a n k i s h s i n g e r s l e a r n i n g R o m a n c h a n t says t h a t of t h e t w o F r a n k s w h o l e a r n e d i n R o m e i t s e l f , o n e w e n t t o A a c h e n , t h e o t h e r to M e t z . L a t e r m u s i c i a n s w e r e e v i d e n t l y c o n c e r n e d t o e s t a b l i s h S t G a l l ' s c l a i m to a s h a r e i n the a u t h e n t i c Sancti Galli R o m a n t r a d i t i o n , for E k k e h a r d I V ( c . 9 8 0 - c . 1060), i n his Casus ( p r o b a b l y of the 1 0 4 0 s ) , says t h a t w h i l e o n e s i n g e r d i d i n d e e d g o to

A a c h e n , t h e o t h e r f e l l i l l o n t h e w a y a n d s t a y e d at S t G a l l , t e a c h i n g t h e m o n k s f r o m t h e R o m a n a n t i p h o n e r he h a d w i t h h i m , a n d i n s t r u c t i n g N o t k e r i n t h e m e a n i n g of the s i g n i f i c a t i v e l e t t e r s u s e d i n its n o t a t i o n ( M G H Scriptores c i t e d v a n D o r e n 1925, 128). re rum Sangallensium, 102, T h e r e s u r v i v e s e v e r a l c o p i e s of a l e t t e r a t t r i b u t e d to 1962.)

N o t k e r , w r i t t e n to a n o t h e r w i s e u n k n o w n m o n k L a n t p e r t u s , w h i c h e x p l a i n s these letters (critical e d i t i o n b y F r o g e r A l t h o u g h E k k e h a r d I V ' s c h r o n o l o g y has b e e n s h o w n t o b e s h a k y , a n d a c e r t a i n a m o u n t of l e g e n d h a s c r e p t i n t o h i s n a r r a t i v e , he p a i n t s a f a s c i n a t i n g a n d c h a r m i n g p i c t u r e of l i f e a n d l e a r n i n g i n t h e m o n a s t e r y , of t h e a c t i v i t i e s of N o t k e r a n d T u o t i l o , R a t p e r t a n d H a r t m a n n , a n d N o t k e r ' s t e a c h e r s , Iso a n d t h e M a r c e l l u s ( M G H Scriptores re rum Sangellensium\ I r i s h m a n M o e n g a l or are then the parts r e l a t i n g to m u s i c

r e p r o d u c e d b y G a u t i e r 1 8 8 6 ; see also S c h u b i g e r , etc. a b o v e ) . O f t h e c o m p o s e r s of the r i c h t r o p e r e p e r t o r y i n t h e S t G a l l m a n u s c r i p t s (the e a r l y S t G a l l 4 8 4 a n d 3 8 1 , 376, 378, in 380, a n d 3 8 2 f r o m the e l e v e n t h c e n t u r y ) , w e k n o w n o t h i n g , e x c e p t f o r contain many pieces not k n o w n elsewhere, i n c l u d i n g the

E k k e h a r d ' s a s c r i p t i o n of t w o p i e c e s to T u o t i l o . T h i s is r e g r e t t a b l e , b e c a u s e t h e e a r l y tropers particular c o l l e c t i o n of m e l i s m a t i c e x t e n s i o n s to i n t r o i t s , o f t e n w i t h p r o s u l a t e x t s . O n t h e o t h e r h a n d , t h e s e q u e n c e t e x t s w h i c h c a n be m o r e o r less r e l i a b l y a t t r i b u t e d t o N o t k e r , t h e f a m o u s Liber hymnorum, have been identified o n stylistic g r o u n d s ( v o n d e n S t e i n e n with m e a n s that n o c r i t i c a l m u s i c a l e d i t i o n of French of the Gall 600 the (1977). Schubiger edited many 1 9 4 8 ) . T h e d i f f i c u l t y of m a t c h i n g t h e n e u m a t i c n o t a t i o n o f t h e e a r l y s o u r c e s a p p r o p r i a t e later copies i n staff-notation N o t k e r ' s book exists, sources have been t h o u g h t r a n s c r i p t i o n s m a d e w i t h r e f e r e n c e to early

published by Crocker

s e q u e n c e s f r o m l a t e r G e r m a n s o u r c e s , i n c l u d i n g S t G a l l 5 4 6 , a m a s s i v e c o m p i l a t i o n of sequences, ordinary-of-mass chants, a n d some other items c o p i e d b y the St c a n t o r J o a c h i m C u o n t z i n p r e p a r a t i o n f o r t h e c a n o n i z a t i o n of N o t k e r i n 1512, y e a r s a f t e r h i s d e a t h . B y t h i s t i m e s e v e r a l of N o t k e r ' s p i e c e s h a d f a l l e n o u t o f r e p e r t o r y , and C u o n t z d i d not k n o w their m e l o d i e s . ( O n the o r d i n a r y - o f - m a s s see M a r x e r 1908, with o n t h e s e q u e n c e s see L a b h a r d t 1959-63.) books the Gall 359, 339, and N o less i m p o r t a n t t h a n its t r o p e a n d s e q u e n c e m a n u s c r i p t s are the S t G a l l p r o p e r of m a s s a n d o f f i c e c h a n t s , i n particular St a n t i p h o n e r c o m p i l e d a r o u n d 1000 b y H a r t k e r ( d . 1 0 1 1 ) , S t G a l l 3 9 0 - 1

chants

( P a l M u s II/l).

T h e l a t t e r i s o n e of t h e e a r l i e s t o f a l l n o t a t e d a n t i p h o n e r s , S t G a l l 3 5 9 o n e of e a r l i e s t of all fully notated chant-books. Their importance was recognized by the chant r e f o r m e r s o f t h e n i n e t e e n t h c e n t u r y , a n d it w a s b e l i e v e d f o r a t i m e t h a t S t G a l l 3 5 9 was t h e very m a n u s c r i p t b r o u g h t f r o m R o m e b y R o m a n u s , hence the p u b l i c a t i o n of a f a c s i m i l e o f it b y L a m b i l l o t t e i n 1 8 5 5 . T h e fine d e t a i l o f t h e i r n o t a t i o n h a s m a d e t h e early S t G a l l b o o k s p a r t i c u l a r l y i m p o r t a n t f o r the i n v e s t i g a t i o n of c h a n t p e r f o r m a n c e . A s to the l i t u r g i c a l a n d m e l o d i c t r a d i t i o n they represent, w h i l e neither they n o r any other books c a n b e s h o w n to t r a n s m i t any particularly authoritative archetype, C a r o l i n g i a n or other, mass chants (Graduel t h e y b e l o n g t o a p a r t i c u l a r l y c l o s e l y k n i t g r o u p of G e r m a n remain I V ) a n d also H e s b e r t ' s w o r k o n A d v e n t r e s p o n s o r y

s o u r c e s . T h i s is c l e a r f r o m t h e S o l e s m e s c o m p a r i s o n of m e l o d i c v a r i a n t s i n p r o p e r - o f s e r i e s (CAO 5 - 6 ) . It h a s y e t t o b e s h o w n , h o w e v e r , t h a t S t G a l l w a s t h e fons et origo o f these t r a d i t i o n s i n eastern lands. In Table IX.3.1 chants I h a v e s u m m a r i z e d s o m e of t h e r e s u l t s o f t h e S o l e s m e s survey. T h e m e t h o d o f i n v e s t i g a t i o n i n v o l v e d i d e n t i f y i n g 100 ' l i e u x v a r i a n t s ' i n t h e p r o p e r of m a s s w h e r e s o u r c e s t e n d e d t o d i f f e r f r o m e a c h o t h e r . Agreements and disagreements d i s a g r e e m e n t s b e t w e e n a l l t h e s o u r c e s w e r e t h e n c o u n t e d , a n d g r o u p s of s o u r c e s i n total o r near a g r e e m e n t w e r e i d e n t i f i e d . W i t h i n a l i m i t of t w e n t y - f i v e o u t o f 100 ( 7 5 % a g r e e m e n t ) , blocs. Within the the eastern western the sources d i v i d e d into t w o m a i n blocs, eastern a n d however, could t h e great form m a j o r i t y of sources whereas very at t h a t small mostly were i n level of groups,

western, w i t h sources f r o m V e r c e l l i a n d L e M a n s , respectively, f o r m i n g t w o eccentric bloc, sources agreement agreement to w i t h i n six differences ( 9 4 % agreement), only

r e p r e s e n t i n g a s i n g l e c h u r c h o r r e l i g i o u s o r d e r . T h e list o m i t s a l l s i n g l e s o u r c e s w h i c h can also be assigned to t h e m a i n b l o c s , a n d those for w h i c h i n s u f f i c i e n t readings w e r e available. The great majority of the readings on which manuscripts d i f f e r are h a r d l y p e r c e p t i b l e t o m o d e r n e a r s . B u t t h e r e is a q u i t e a u d i b l e d i s t i n c t i o n i n t h e t r e a t m e n t o f t h e n o t e s at t h e s e m i t o n e r e a d i n g s u c h as ded, sign o r aba steps i n the d i a t o n i c scale. Where many southern and i f t h e s c r i b e uses t h e flat prefer dfd and aca. w e s t e r n sources ( A q u i t a n i a n a n d B e n e v e n t a n ones seem to be most consistent) have a at t h e t o p o f a p h r a s e ( o r aba, eastern at a l l ) , n o r t h e r n a n d especially manuscripts

I n t i m a t e l y r e l a t e d t o t h i s p h e n o m e n o n is t h e q u e s t i o n o f w h i c h r e c i t i n g n o t e , b o r c , is a p p r o p r i a t e f o r t h e t h i r d p s a l m t o n e a n d r e c i t a t i o n passages i n c o m p o s i t i o n s i n m o d e s t h r e e a n d f o u r . T h e e a s t e r n p r o p e n s i t y t o c h o o s e t h e h i g h e r n o t e is o f t e n r e f e r r e d t o as c o n s t i t u t i n g t h e ' G e r m a n c h a n t d i a l e c t ' , t h o u g h it w o u l d s e e m m o r e a p p r o p r i a t e t o c a l l it a r e g i o n a l a c c e n t , s i n c e n o t h i n g i n t h e b a s i c v o c a b u l a r y o r g r a m m a r o f t h e chants is a f f e c t e d . N u m e r o u s e x a m p l e s w e r e g i v e n b y W a g n e r ( 1 9 3 0 - 2 ; see a l s o W a g n e r 1 9 2 5 ) , a n d H e i s l e r ( 1 9 8 5 , 1987) h a s r e c e n t l y c o n s i d e r a b l y b r o a d e n e d t h e s c o p e o f t h e i n q u i r y . ( S e e also S t a b l e i n , ' D e u t s c h l a n d . B . M i t t e l a l t e r . I . D e r r o m i s c h e C h o r a l i m N o r d e n ' , M G G , a n d A g u s t o m 1987.) G a j a r d (1954) a n d C a r d i n e (1954) d e m o n s t r a t e d c o g e n t l y t h a t e a r l y S t G a l l m a n u s c r i p t s u s e d 6, n o t c, as t h e r e c i t i n g n o t e , a n d t h i s w o u l d s e e m t o i m p l y that t h e p r e f e r e n c e f o r t h e h i g h e r n o t e at t h e s e m i t o n e step is a r e l a t i v e l y later d e v e l o p m e n t .

T a b l e I X . 3 . 1 . Sources grouped according to their musical van ants s h o w i n g groups of sources w i t h no more than 6 out of 100 disagreements ( n u m b e r of sources i n each g r o u p given i n parentheses) W e s t e r n bloc 25 groups, 83 sources 1. S a i n t - D e n i s (earlier), C o r b i e , Worcester, D o w n p a t r i c k (5) 2. S a i n t - D e n i s (later), S a i n t - C o r n e i l l e at C o m p i e g n e (3) 3. 4. 5. 6. 7. S a i n t - M a u r - d e s - F o s s e s (2) Paris, Jerusalem (7) Paris (another group) (2) C a m b r a i (2) A r r a s (2) Eastern bloc 5 groups, 98 sources 1. St G a l l , E i n s i e d e l n , Pfavers, R h e i n a u , Schaffhausen, A u g s b u r g , St G e o r g e n , St Blasien, W e i n g a r t e n , Z w i e f a l t e n , St Peter at B a n t z , M i n d e n , B a m b e r g , St E m m e r a m at R e g e n s b u r g , P r i i f e n i n g , Passau, S a l z b u r g , A d m o n t , S e c k a u , St L a m b r e c h t , M o g g i o , K r e m s m u n s t e r , G a r s t e n , St F l o r i a n , Seittenstetten, M e l k , B l a u b e u e r n , Stockerau, K l o s t e r n e u b u r g (90) 2. Seeon, Schaftlarn (2) 3. T r i e r (2) 4. M o n z a (2) 5. A q u i l e i a (2)

8. A n c h i n , L i l l e , S a i n t - A m a n d (3) 9. A n d e n n e ( 2 ) 10. Sens (3) 11. C h a r t r e s ( 2 ) 12. L y o n (2) 13. A u t u n ( 2 ) 14. S a i n t - B e n i g n e at D i j o n (2) 15. Bee (2) 16. S a r u m (3) 17. T o u l o u s e , A l b i , S a n M i l l a n de la C o g o l l a (5) 18. 19. 20. 21. 22. 23. 24. 25. Valence (2) Ivrea or Pavia (2) F o r l i m p o p o l i , R a v e n n a (2) Piacenza (2) M o n t e c a s s i n o , Benevento (11) C i s t e r c i a n , D o m i n i c a n (7) C a r t h u s i a n s (5) Franciscans (3)

IX.4.

C L U N Y

General: S a c k u r 1 8 9 2 - 4 ; Joan E v a n s 1931; Congress C l u n y 1949; Congress T o d i 1958; H u n t 1967; W i l m a r t 1970; V a l o u s 1970; C o w d r e y 1970. Customs: P L 149, 6 3 3 - 7 7 8 ; C M 2 ; C C M 10. Chant: L e r o q u a i s 1935; H o u r l i e r 1951, ' C l u n i s i e n n e ' , 1959; H u g l o 1957; R e n a u d i n 1972; G a r a n d 1976; H u g l o , ' C l u n i a c M o n k s ' , A G ; D a v r i l 1983; H u g l o 1983; Sterner 1984, ' M u s i c ' , 1987; H o l d e r 1985; L a m o t h e a n d Constantine 1986; H i l e y 1990.

Perhaps the most

f a m o u s of a l l B e n e d i c t i n e

monasteries,

Cluny,

near M a c o n i n

B u r g u n d y , w a s f o u n d e d i n 9 0 9 , l o n g after s u c h M e r o v i n g i a n f o u n d a t i o n s as C o r b i e , o r I r i s h o n e s s u c h as S t G a l l . It o w e d o b e d i e n c e to n o d i o c e s a n a u t h o r i t y b u t o n l y t o the p o p e . T h i s arrangement, a n d t h e q u a l i t y of its m o n a s t i c o b s e r v a n c e , inspired o t h e r B e n e d i c t i n e h o u s e s to r e f o r m t h e m s e l v e s after t h e C l u n i a c m o d e l . O t h e r s w e r e o b l i g e d to d o so b y t h e i r l a y o r e c c l e s i a s t i c a l p a t r o n s , o r w e r e f o u n d e d as p r i o r i e s o v e r w h i c h C l u n y h a d a u t h o r i t y . U n d e r a series of o u t s t a n d i n g a b b o t s O d o M a y e u l ( 9 4 8 - 9 4 ) , O d i l o ( 9 9 4 - 1 0 4 9 ) , H u g h ( 1 0 4 9 - 1 1 0 9 ) , a n d Peter the (1122-57)Cluny (927-42), Venerable

rose to a p o s i t i o n of u n p r e c e d e n t e d e c c l e s i a s t i c a l a n d t e m p o r a l

p o w e r , c o m m a n d i n g t h e o b e d i e n c e of o v e r 1,000 h o u s e s , m o s t l y i n B u r g u n d y a n d t h e rest of F r a n c e , b u t also i n n o r t h e r n S p a i n , I t a l y , a n d E n g l a n d . A f t e r t h e t w e l f t h c e n t u r y its i n f l u e n c e d e c l i n e d i n t h e f a c e of c o m p e t i t i o n f r o m t h e n e w l y fashionable ascetic orders, especially the C i s t e r c i a n s , w h o were responsible for m u c h i n t e m p e r a t e p o l e m i c a g a i n s t w h a t t h e y s a w as a b e t r a y a l of t h e s i m p l e i d e a l s of e a r l y m o n a s t i c i s m . A m o n g o t h e r t h i n g s , t h e c o m p l e x i t y a n d l e n g t h of t h e l i t u r g y w a s c r i t i c i z e d . F r o m t h e e x t a n t e v i d e n c e it d o e s n o t , h o w e v e r , s e e m t h a t C l u n y ' s l i t u r g y w a s e x c e p t i o n a l i n its o w n d a y . It is n o w seen n o t as b o u n d l e s s p r o l i x i t y f o r t h e sake of r i t u a l i s m a l o n e , b u t as t h e e x p r e s s i o n of a v i s i o n of t h e e n d l e s s h y m n of p r a i s e of h e a v e n i t s e l f ( W a d d e l l 1982, L e c l e r c q 1974, 308). The T h e s u r v i v i n g c h a n t s o u r c e s w i t h m u s i c f r o m C l u n y i t s e l f are p i t i f u l l y f e w .

e a r l i e s t are t w o f r o m a b o u t 1075, t h a t i s , f r o m t h e t i m e of A b b o t H u g h : a g r a d u a l , P a r i s , B i b l i o t h e q u e N a t i o n a l e , l a t . 1087, a n d a n o t e d b r e v i a r y , P a r i s 12601 ( H o u r l i e r 1 9 5 9 ) . U n f o r t u n a t e l y , l a t e r m u s i c a l m a n u s c r i p t s are a l m o s t t o t a l l y l a c k i n g . O n l y t h e n o t e d b r e v i a r y of 1317 of S a i n t - V i c t o r - s u r - R h i n s , n e a r Roanne, c a n be c i t e d , a is m a n u s c r i p t w h i c h w a s p r e p a r e d at C l u n y ( D a v r i l 1983, H u g l o 1983). Recourse

t h e r e f o r e n e c e s s a r y to t h o s e f r o m a f f i l i a t e d m o n a s t i c h o u s e s . F o r m a n u s c r i p t s i n staffn o t a t i o n o n e m a y c o n s u l t , f o r e x a m p l e , f o r t h e m a s s , a g r a d u a l of t h e e a r l y t w e l f t h century from Souvigny (Bourbonnais, compiled for Sauxillanges, Auvergne), B r u s s e l s , B i b l i o t h e q u e R o y a l e I I . 3 8 2 3 ( H u g l o 1 9 5 7 ) ; f o r the o f f i c e , a t w e l f t h - c e n t u r y a n t i p h o n e r f r o m S a i n t - M a u r - d e s - F o s s e s , P a r i s 12044 ( R e n a u d i n 1 9 7 2 ) ; a n d f o r m a s s a n d o f f i c e c o m b i n e d , t h e b r e v i a r y - m i s s a l of L e w e s of t h e late t h i r t e e n t h C a m b r i d g e , F i t z w i l l i a m M u s e u m 369 ( L e r o q u a i s 1935, b e e n e d i t e d b y H e s b e r t i n C / I O 2.) P r e s u m a b l y b e c a u s e its e x t a n t s o u r c e s , a n d i n d e e d its t i m e of f o u n d a t i o n , w e r e t o o late i n d a t e to i n t e r e s t t h e B e n e d i c t i n e r e s t o r e r s of p l a i n c h a n t , p a r t l y p e r h a p s also b e c a u s e s o m e of t h e C i s t e r c i a n c r i t i c i s m has c o l o u r e d m o d e r n a t t i t u d e s , Cluny's l i t u r g y a n d c h a n t h a v e n o t r e c e i v e d d e t a i l e d a t t e n t i o n i n p r o p o r t i o n to t h e i r f a m e . T h e t e n d e n c y h a s b e e n r a t h e r to a s s u m e C l u n i a c influence on liturgical music s i m p l y b e c a u s e it ' m u s t h a v e b e e n i n f l u e n t i a l ' . T h u s A b b o t O d o , k n o w n to h a v e c o m p o s e d t h r e e h y m n s a n d t w e l v e a n t i p h o n s f o r t h e m o n a s t i c o f f i c e of S t M a r t i n , w a s also c r e d i t e d w i t h t h e c o m p i l a t i o n of a n u m b e r of t h e o r e t i c a l w o r k s , a l l o f w h i c h c a n n o w be a s s i g n e d to o t h e r a u t h o r s : t h e t r e a t i s e k n o w n as t h e Dialogus de musica, which century, H o l d e r 1 9 8 5 ) . ( T h e t e x t of

t h e t w e l f t h - c e n t u r y C l u n i a c a n t i p h o n e r of S a i n t - M a u r - d e s - F o s s e s , P a r i s 1 2 5 8 4 , has

o r i g i n a t e d i n n o r t h e r n I t a l y i n t h e late t e n t h c e n t u r y ; a t o n a r y a n d a s s o c i a t e d f o u r t e e n t h c e n t u r y w h i c h is c l e a r l y of F r a n c i s c a n o r i g i n (see H u g l o , ' O d o ' , renowned for the unique collection of conductus (rhymed Latin

treatise NG). and

l i k e w i s e of t h e late t e n t h c e n t u r y , c o m p i l e d b y A b b o t O d o of A r e z z o ; a t o n a r y of the M o r e b i z a r r e is t h e case of t h e f a m o u s ' C o d e x C a l i x t i n u s ' o r ' L i b e r S a n c t i J a c o b i ' , songs) p o l y p h o n i c m u s i c w h i c h it c o n t a i n s ( e d . W h i t e h i l l et al., w i t h f a c s i m i l e of t h e o f f i c e s ; That

e d i t i o n of m u s i c also b y W a g n e r 1931). T h e m a n u s c r i p t was c o p i e d i n the 1160s, for t h e g r e a t p i l g r i m a g e c h u r c h of S a n t i a g o de C o m p o s t e l a , w h e r e it s t i l l r e s i d e s . was not, h o w e v e r , t h e o r i g i n a l d e s t i n a t i o n of t h e m a t e r i a l . T h e m a n u s c r i p t was

w r i t t e n i n c e n t r a l F r a n c e , p o s s i b l y at V e z e l a y . It c o n t a i n s t e x t s a n d m u s i c f o r t h e f e s t a l l i t u r g y o f S t J a m e s , a n a c c o u n t of S t J a m e s ' s t r a n s l a t i o n to G a l i c i a , h i s m i r a c l e s , a b o o k a b o u t t h e p i l g r i m a g e r o u t e s to S a n t i a g o , a n d a b o o k of t h e l e g e n d a r y e x p l o i t s of A r c h b i s h o p T u r p i n u s , o n e of t h e T w e l v e P e e r s of C h a r l e m a g n e . A t t h e b e g i n n i n g of t h e b o o k i t s a u t h o r states t h a t a l a r g e p r o p o r t i o n of t h e m a t e r i a l w a s c o m p i l e d at Cluny, the and attempts have by the therefore Roman been (see made Hamel to u n d e r s t a n d t h e 1950, Stablein book as an i n s t r u m e n t of t h e C l u n i a c e c c l e s i a s t i c a l r e c o n q u e s t of S p a i n , a n d t h e r e p l a c e m e n t of M o z a r a b i c rite 1963, 'Modale R h y t h m e n ' ) . T h i s t h e s i s u n f o r t u n a t e l y takes t h e n a t u r e of t h e b o o k t o o s e r i o u s l y . H o h l e r ( 1 9 7 2 ) h a s s h o w n t h a t t h e P s e u d o - T u r p i n u s p a r t of t h e ' L i b e r S a n c t i J a c o b i ' was a text d e s i g n e d to teach L a t i n to s c h o o l b o y s , f u l l of d e l i b e r a t e g r a m m a t i c a l h o w l e r s a n d m a l a p r o p i s m s , n o t to m e n t i o n s u c h h u m o r o u s s t o r i e s as t h e o n e w h e r e t h e E m p e r o r C h a r l e m a g n e o r d e r s h i s c a v a l r y to c h a r g e a c r o s s r o u g h c o u n t r y w i t h t h e i r h o r s e s b l i n d f o l d e d . A n d t h e S t J a m e s l i t u r g y c a n n o t be a C l u n i a c c o m p i l a t i o n . A m o n g o t h e r t h i n g s , t h e f o r m of t h e o f f i c e h o u r s is n o t a l w a y s m o n a s t i c . A n d t h e s p e c i a l L a t i n s o n g s a n d p o l y p h o n y are a t y p e of m u s i c w h i c h C l u n y is u n l i k e l y t o h a v e cultivated with m u c h vigour. F r o m t h e e x h a u s t i v e d e s c r i p t i o n of C l u n y ' s l i t u r g y b y U l r i c h of Z e l l ( P L 149. 633 778) a n d t h e c o n t e n t s of t h e c o n t e m p o r a r y g r a d u a l P a r i s 1087, D e i on Easter D a y . W h i l e t h e argurnentum ex sdentio it s e e m s c l e a r t h a t is n e v e r reliable, C l u n y d i d n o t h a v e t r o p e s s u n g i n its l i t u r g y , w i t h t h e sole e x c e p t i o n of a t r o p e d Agnus U l r i c h ' s h a b i t of d w e l l i n g o n e a c h u n u s u a l d e t a i l of t h e l i t u r g y , n o t least its m o r e festal m u s i c , m a k e s h i s m e n t i o n of b u t one trope t e l l i n g . F u r t h e r m o r e , sequences w e r e s u n g w i t h t e x t s at C l u n y o n l y o n t h e h i g h e s t f e a s t s ; o n o t h e r f e a s t - d a y s o n l y t h e m e l o d i e s w e r e s u n g , as w o r d l e s s m e l i s m a s . D o e s t h i s d e n o t e a d e l i b e r a t e l y r e s e r v e d a t t i t u d e t o w a r d s ' n o n - c a n o n i c a l ' m a t e r i a l , a l a t e r m a n i f e s t a t i o n of t h e i d e a s of A g o b a r d of L y o n s ? ( C f . G y 1 9 8 3 . ) A t a n y r a t e , w i t h r e s p e c t to t h e s e p i e c e s at least, C l u n y a p p e a r s to h a v e s t e e r e d a m o d e r a t e c o u r s e . H e r e is n o n e of t h e i n f l a t e d l i t u r g i c a l s p l e n d o u r a t t a c k e d b y C l u n y ' s o p p o n e n t s . (See H i l e y 1 9 9 0 . ) Cluny's influence upon monastic observance and discipline and relations with e c c l e s i a s t i c a l a u t h o r i t y h a s b e e n s t u d i e d m o r e t h a n its l i t u r g y . W h e n a m o n a s t e r y s u b m i t t e d to C l u n i a c a u t h o r i t y , d i d it n e c e s s a r i l y o b s e r v e t h e s a m e l i t u r g y as C l u n y ? I n t h e case of m a n y h o u s e s n o s e r v i c e - b o o k s s u r v i v e t o g i v e us a n a n s w e r . IX.4.1 The s t a n d a r d tests o n t h e c h a n t r e p e r t o r y p r o v i d e at least s o m e a n s w e r s , h o w e v e r . M a p s h o w s t h e p r o v e n a n c e of s o u r c e s w h i c h agree w i t h C l u n y i n t h e i r c h o i c e of

4.

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577

M a p I X . 4 . 1 . Monasteries f o l l o w i n g the use of C l u n y , S a i n t - B e n i g n e at D i j o n , or Bee

post-Pentecost IV).

a l l e l u i a s a n d A d v e n t r e s p o n s o r i e s (cf. CAO

5-6),

a n d i n the m e l o d i c rornain

r e a d i n g s of t h e i r p r o p e r - o f - m a s s c h a n t s , t h e S o l e s m e s i i e u x v a r i a n t s ' (Graduel w h i c h w i l l b e r e f e r r e d to i n t w o s u b s e q u e n t sections.

S i m i l a r i n f o r m a t i o n f o r t w o o t h e r m o n a s t i c f a m i l i e s is r e g i s t e r e d o n t h e m a p ,

A l t h o u g h w o r k o n m a n y s o u r c e s r e m a i n s to b e d o n e , it is c l e a r t h a t w h e n a m o n a s t e r y a d o p t e d t h e o r d e r of s e r v i c e a n d s e l e c t i o n of c h a n t s p e r f o r m e d at C l u n y , it m i g h t c o n t i n u e to s i n g t h o s e c h a n t s i n t h e o l d w a y . T h i s is t h e case at S a i n t - M a r t i a l of L i m o g e s ( P a r i s , B i b l i o t h e q u e N a t i o n a l e , lat. 1132), M a r c h i e n n e s ( D o u a i , B i b l i o t h e q u e M u n i c i p a l e 114), A n c h i n ( D o u a i 90) a n d S a i n t - A m a n d ( V a l e n c i e n n e s , B i b l i o t h e q u e M u n i c i p a l e 121), all of w h i c h h a v e the C l u n i a c a l l e l u i a series b u t n o n - C l u n i a c m e l o d i c v a r i a n t s . U l r i c h of Z e l l ( 1 0 2 9 - 9 3 ) , t h e a u t h o r of t h e c u s t o m a r y j u s t r e f e r r e d t o , g r e w u p i n R e g e n s b u r g , w h e r e he w a s e d u c a t e d a l o n g s i d e t h e g r e a t W i l l i a m , f u t u r e a b b o t Hirsau in the Black Forest. Later he entered Cluny, where he wrote Consuetudines to i n f o r m W i l l i a m about C l u n i a c observance. of the

B u t W i l l i a m d i d not

i n t r o d u c e t h e C l u n y l i t u r g y i n t h e h o u s e s w h i c h w e r e r e f o r m e d at f i r s t o r s e c o n d h a n d f r o m H i r s a u . A l t h o u g h p r a c t i c a l l y n o n e of H i r s a u ' s l i t u r g i c a l b o o k s h a s s u r v i v e d , w e h a v e a g o o d i d e a of w h a t t h e y c o n t a i n e d f r o m m a n u s c r i p t s of m o n a s t e r i e s w h i c h w e r e r e f o r r h e d f r o m H i r s a u . I n H e s b e r t ' s s u r v e y of A d v e n t r e s p o n s o r y s e r i e s , a g r o u p of m o s t l y s o u t h G e r m a n monasteries emerged w h i c h evidently reflected their c o m m o n link with Hirsau: or Prufening, Zwiefalten, and from Hirsau itself; SS St Georgen, Schwarzwald, were founded reformed Ulrich and Afra, Augsburg, and

G e n g e n b a c h f r o m St G e o r g e n ; St E m m e r a m , Regensburg, f r o m A d m o n t ; R h e i n a u f r o m P e t e r s h a u s e n . A s s e s s i n g s u c h r e l a t i o n s h i p s w i t h t h e a i d of t h e S o l e s m e s ' l i e u x variants' i n p r o p e r - o f - m a s s chants is, h o w e v e r , m u c h m o r e p r o b l e m a t i c a l , for w i l l h a v e t o d e v e l o p o t h e r m e a n s of d i s t i n g u i s h i n g b e t w e e n s u c h b o o k s . Within B e n e d i c t i n e m o n a s t i c i s m as a w h o l e m a n y m o n a s t e r i e s became grouped u n d e r t h e a e g i s of a f o u n d i n g o r r e f o r m i n g c e n t r e w h o s e d i s c i p l i n e o r l i t u r g y t h e y a d o p t e d . C l u n y , G o r z e , a n d H i r s a u , G r a n d m o n t , C a m a l d o l i , a n d V a l l o m b r o s a are j u s t a f e w of t h e b e t t e r - k n o w n n a m e s . M u c h w o r k r e m a i n s to be d o n e to d i s c o v e r t h e s i g n i f i c a n c e of t h e s e g r o u p i n g s f o r t h e c h a n t r e p e r t o r y . T h e sort of c h a n t p r o p a g a t e d i n a l l o f t h e m w a s t r a d i t i o n a l . O n l y t h e C i s t e r c i a n s r e f o r m e d t h e a c t u a l m e l o d i e s to b e s u n g (see b e l o w , X.2). the o b s e r v e d d i f f e r e n c e b e t w e e n e a s t e r n s o u r c e s is so s l i g h t . It a p p e a r s t h a t m u s i c o l o g i s t s

IX.5.

W I L L I A M

O F

D I J O N 1967;

C h o m t o n 1900; P a l M u s 8; H u g l o 1956, T o n a i r e ' , 1971, Tonaires; R . L e R o u x B u l s t 1973, 1974; H a n s e n 1974.

W i l l i a m of D i j o n w a s b o r n of a n o b l e P i e d m o n t e s e f a m i l y i n V o l p i a n o i n L o m b a r d y i n 961. When already a monk he met Mayeul of Cluny and entered that house, other e v e n t u a l l y a t t a i n i n g to s u c h e s t e e m t h a t he w a s e n t r u s t e d w i t h t h e r e f o r m of S a i n t Benigne at D i j o n i n 9 8 9 . H e m a d e t h i s t h e s p r i n g b o a r d f o r t h e r e f o r m of

m o n a s t e r i e s , p a r t i c u l a r l y i n P i e d m o n t . ( T h e c u s t o m a r y of o n e of t h e s e s u r v i v e s , f r o m S a n B e n i g n o at F r u t t u a r i a , c l o s e to h i s b i r t h p l a c e : e d . i n C C M 12 a n d b y A l b e r s i n C M 2 a n d 4 ) . I n 1001 h e w a s i n v i t e d b y D u k e R i c h a r d I I of N o r m a n d y to r e v i v e t h e monastic houses of his duchy, only then b e g i n n i n g to recover from years of d e v a s t a t i o n a n d n e g l e c t at t h e h a n d s of R i c h a r d ' s f o r e b e a r s . F r o m F e c a m p o n the

C h a n n e l coast h e a n d h i s s u c c e s s o r s , i n p a r t i c u l a r h i s n e p h e w J o h n of R a v e n n a , w h o s u c c e e d e d h i m as a b b o t of F e c a m p i n 1028, a n d T h i e r r y , a b b o t of J u m i e g e s a n d t h e n M o n t - S a i n t - M i c h e l , t r a n s f o r m e d m o n a s t i c l i f e i n N o r m a n d y . O n h i s d e a t h i n 1031 h e w a s h e a d o v e r m o r e t h a n f o r t y h o u s e s i n F r a n c e a n d I t a l y . A p i o u s p i c t u r e of t h e g r e a t m a n was written b y his disciple R o d u l p h u s G l a b e r , w h o described his w i d e - r a n g i n g interests, i n c l u d i n g m e d i c a l a n d m u s i c a l ones. T h e latter are, h o w e v e r , m e n t i o n e d i n purely general t e r m s h e ' e m e n d e d ' t h e s i n g i n g of a n t i p h o n s , r e s p o n s o r i e s , and h y m n s so t h a t t h e y w e r e s u n g b e t t e r t h a n a n y w h e r e else ( P L 1 4 2 . 7 1 5 ) f r o m n o t h i n g s p e c i f i c c a n be l e a r n e d . W h i l e m u c h is k n o w n a b o u t h i s r e f o r m i n g w o r k , a n d t h e c u s t o m a r y h e c o m p o s e d f o r F r u t t u a r i a is e x t a n t , it is i m p o s s i b l e to k n o w j u s t h o w m u c h m u s i c a l e x p e r t i s e W i l l i a m h a d . T h e q u e s t i o n is n o t a p u r e l y a c a d e m i c o n e b e c a u s e of t h e e x i s t e n c e of t h e f a m o u s tonary w i t h d u a l notation, i n neumes a n d letters, M o n t p e l l i e r , F a c u l t e de M e d e c i n e H . 159, w h i c h m a y have been c o m p o s e d b y h i m or u n d e r his d i r e c t i o n ( f a c s . P a l M u s 8, e d n . H a n s e n 1 9 7 4 ) . T h a t t h e t o n a r y c o m e s f r o m S a i n t - B e n i g n e o r o n e of its s i s t e r h o u s e s i n N o r m a n d y is b e y o n d d i s p u t e . T h e o f f e r t o r y Laudate Hierusalem dominum quoniam w a s g i v e n t h e p r o s u l a In i n h o n o u r of S t B e n i g n u s ( P a l M u s 8, 2 1 7 - 1 8 , H a n s e n n o . 8 8 0 - 1 ) . A n d which

b y c h o i c e of p i e c e s a n d b y its m e l o d i c v a r i a n t s M o n t p e l l i e r H . 159 a g r e e s w i t h o t h e r books f r o m S a i n t - B e n i g n e , f r o m Jumieges, a n d M o n t - S a i n t - M i c h e l . B y all the usual tests t h e s e a n d o t h e r N o r m a n h o u s e s f o r m a p a r t i c u l a r l y c o h e s i v e g r o u p : F e c a m p a n d Saint-Evroult are t w o o t h e r n o t a b l e 5-6 members of i t , t o g e t h e r with some English Michel h o u s e s . ( A s w e l l as CAO a n d Graduel romain I V , see L e R o u x 1 9 6 7 ,

R o b e r t 1967, H i l e y 1 9 8 0 - 1 a n d 1986, ' T h u r s t a n ' ) . T h e s e m o n a s t e r i e s are r e p r e s e n t e d o n M a p I X . 4 . 1 a b o v e , i n c o m p a n y w i t h those f o l l o w i n g C l u n i a c use a n d that of Bee, w h o s e i n f l u e n c e is d i s c u s s e d i n t h e n e x t s e c t i o n . T h e m a i n p a r t of M o n t p e l l i e r H . 159 is a c o p y of a l l t h e p r o p e r c h a n t s o f m a s s i n t o n a l , r a t h e r t h a n l i t u r g i c a l o r d e r . B u t o n its flyleaves is a f r a g m e n t a r y t o n a r y of t h e c o n v e n t i o n a l k i n d , t h a t is w i t h t h e i n c i p i t s of o f f i c e a n t i p h o n s o n l y , w h i c h m a t c h e s a t o n a r y of t h e s a m e t y p e i n t h e F e c a m p a n t i p h o n e r R o u e n , B i b l i o t h e q u e M u n i c i p a l e 245 ( A . 190) (see H u g l o , 1956 ' T o n a i r e ' , 1 9 7 1 , Tonaires, 328-33). T h e m a i n t o n a r y i n M o n t p e l l i e r H . 159 has b e e n d e s c r i b e d b r i e f l y a b o v e ( I I I . 14), a n d also its a l p h a b e t i c n o t a t i o n ( I V . 6 ) . G i v e n t h e I t a l i a n e x t r a c t i o n o f W i l l i a m a n d J o h n of R a v e n n a , it is p e r h a p s n o t s u r p r i s i n g to find a l p h a b e t i c n o t a t i o n d i s s e m i n a t e d a m o n g t h e N o r m a n m o n a s t e r i e s , f o r t h e a n o n y m o u s Dialogus de musica, written in n o r t h I t a l y i n t h e late t e n t h c e n t u r y , d e s c r i b e s j u s t s u c h a s y s t e m ( a l b e i t w i t h o u t t h e special signs for liquescence, q u i l i s m a , a n d oriscus i n the M o n t p e l l i e r m a n u s c r i p t ) . T h e l i t u r g i c a l o r d e r i n g of c h a n t s w h i c h u n i t e s b o o k s f r o m S a i n t - B e n i g n e a n d t h o s e

f r o m N o r m a n monasteries

is n o t t h a t of C l u n y . T h e ' C l u n i a c ' n a t u r e of W i l l i a m ' s find t r o p e s f o r the

r e f o r m s l i e s e l s e w h e r e . P e r h a p s it is s i g n i f i c a n t t h a t w e d o n o t

p r o p e r of m a s s i n b o o k s f r o m t h e r e v i v e d m o n a s t e r i e s a s i g n of C l u n i a c ' a b s t i n e n c e ' ? T h e y d o , h o w e v e r , h a v e f u l l c o m p l e m e n t s of s e q u e n c e s , a n d o r d i n a r y - o f - m a s s c h a n t s : the and twelfth-century tropes of its troper time, f r o m S a i n t - E v r o u l t , for e x a m p l e , surpassed only by the collections Paris, Bibliotheque chants N a t i o n a l e , l a t . 1 0 5 0 8 , has o n e of t h e b i g g e s t c o l l e c t i o n s of o r d i n a r y - o f - m a s s

in Norman-Sicilian

m a n u s c r i p t s , t o w h i c h it is i n a n y case r e l a t e d ( l i s t e d i n H i l e y 1986, ' O r d i n a r y ' ) . A n d t h e r e is a m p l e e v i d e n c e of c o m p o s i t i o n a l a c t i v i t y i n h o n o u r of t h e l o c a l p a t r o n s a i n t s , f o r a l l of w h o m n e w o f f i c e s w o u l d h a v e b e e n w r i t t e n as s o o n as m u s i c a l p r a c t i c e was firmly e s t a b l i s h e d . H u g l o h a s s p e c u l a t e d that t h e o f f i c e of S t B e n i g n u s , also c e l e b r a t e d i n N o r m a n d y , m i g h t have been w r i t t e n by W i l l i a m himself, t h o u g h we have no proof of t h i s . A t first, as o n e m i g h t e x p e c t , o u t s i d e h e l p w a s o c c a s i o n a l l y n e e d e d : O r d e r i c u s V i t a l i s , t h e c h r o n i c l e r of S a i n t - E v r o u l t , r e p o r t s that t h e o f f i c e of t h e patron saint Evroult (Ebrulphus) was first composed a c c o r d i n g to monastery's the secular

( R o m a n ) c u r s u s at t h e r e q u e s t of A b b o t R o b e r t d e G r a n t m e s n i l ( 1 0 5 9 - 6 1 ) b y A r n u l f , t h e p r e c e n t o r of C h a r t r e s c a t h e d r a l a n d a p u p i l of t h e f a m o u s F u l b e r t . T w o y o u n g m o n k s , H u b e r t a n d R a l p h , w e n t to C h a r t r e s to h e a r it s u n g ( i n t h e d a y s b e f o r e staffn o t a t i o n w a s u s e d at S a i n t - E v r o u l t ) . T h e office w a s g i v e n its final m o n a s t i c f o r m b y t h e a d d i t i o n o f n i n e a n t i p h o n s a n d t h r e e r e s p o n s o r i e s b y G u i t m u n d , w h o h a d c o m e to S a i n t - E v r o u l t w i t h t h e n e x t a b b o t , O s b e r n ( 1 0 6 1 - 6 ) , f r o m t h e m o n a s t e r y of S a i n t e C a t h e r i n e - d u - M o n t at R o u e n ( C h i b n a l l 1 9 6 9 - 8 0 , i i . 1 0 8 - 9 ) . S u c h a p a t t e r n of e v e n t s must have been repeated v e r y o f t e n a n d of c o u r s e n o t i n N o r m a n d y a l o n e . On n u m e r o u s o c c a s i o n s t h e p i o u s c o m p o s e r ' s n a m e is r e c o r d e d f o r p o s t e r i t y b y a n e q u a l l y p i o u s c h r o n i c l e r , b y p a s s i n g f o r us t h e a n o n y m i t y of t h e l i t u r g i c a l b o o k s The results c a n easily be seen b y t u r n i n g the pages of, for example, themselves. Hesbert's

c a t a l o g u e of m a n u s c r i p t s f r o m J u m i e g e s ( M M S 2 ) : R o u e n , B i b l i o t h e q u e M u n i c i p a l e 248 ( A . 339), a n a n t i p h o n e r of t h e t h i r t e e n t h c e n t u r y , c o n t a i n s t h e c o m p l e t e p r o p e r o f f i c e s f o r P h i l i b e r t u s a n d A y c a d r i u s , t h e a b b e y ' s p a t r o n s a i n t s , A u d o e n u s ( O u e n ) of R o u e n , a n d B e n i g n u s ( B e n i g n e ) . P l a t e s L X X V I - L X X V I I i n M M S 2 g i v e t h e start of t h e P h i l i b e r t o f f i c e , w i t h t h e a n t i p h o n s of the first n o c t u r n of t h e N i g h t O f f i c e i n modal order 1-6. The o f f i c e of S t A u d o e n u s , p a t r o n of t h e d i o c e s e , was more a d v e n t u r o u s , c o n t a i n i n g n u m e r o u s p r o s u l a s (see K e l l y 1 9 7 7 ) .

IX.6.

E N G L A N D

B E F O R E A N D A F T E R C O N Q U E S T

T H E

N O R M A N

Graduale Sarisburiense; AS; P a l M u s 12; Frere 1894, 1 8 9 8 - 1 9 0 1 ; Eeles 1916; D a v i d and H a n d s c h i n 1 9 3 5 - 8 ; K n o w l e s 1963; H o l s c h n e i d e r 1968; H a r t z e l l 1975, 1989; Planchart 1977; G j e r l 0 w 1979; H i l e y 1 9 8 0 - 1 , 1986, ' T h u r s t a n ' , 1987; Hesbert 1982, A n t i p h o n a i r e s ' ; U n d e r w o o d 1982; Droste 1983; R a n k i n 1984, 1987.

A f t e r t h e h e r o i c age of A n g l o - S a x o n m o n a s t i c i s m i n t h e t i m e of B e d e a n d

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B i s c o p , B o n i f a c e , a n d A l c u i n , the c h u r c h i n E n g l a n d w a s p r a c t i c a l l y d e s t r o y e d b y t h e S c a n d i n a v i a n i n v a d e r s of t h e n i n t h c e n t u r y . I t is n o t at a l l c e r t a i n t h a t e v e n a s i n g l e m o n a s t e r y s u c c e e d e d i n c o n t i n u i n g o b s e r v a n c e of t h e o f f i c e . S i n c e , n o t s u r p r i s i n g l y , n o s e r v i c e - b o o k s h a v e s u r v i v e d t h i s p e r i o d , t h e c o n t r i b u t i o n of A n g l o - S a x o n p r a c t i c e to t h e i n t r o d u c t i o n of R o m a n c h a n t u n d e r P i p p i n a n d C h a r l e m a g n e is v e r y d i f f i c u l t to a s s e s s . If a n y t h i n g d i d s u r v i v e i n t o t h e e a r l i e s t E n g l i s h c h a n t - b o o k s o f t h e late t e n t h century, we cannot yet recognize it. T h e ones. evidence seems to tell against such a p o s s i b i l i t y , f o r w h a t w e see i n the later m a n u s c r i p t s is c l e a r l y b a s e d o n c o n t i n e n t a l traditions, principally north French T h e E n g l i s h r e v i v a l , l i k e the C a r o l i n g i a n , d e p e n d e d u p o n t h e c o - o p e r a t i o n of c i v i l a n d e c c l e s i a s t i c a l a u t h o r i t y , i n the E n g l i s h case b e t w e e n K i n g E d g a r ( 9 5 9 - 7 5 ) a n d three great b i s h o p s : anti-monastic St Peter, D u n s t a n , O s w a l d , and E t h e l w o l d . D u n s t a n (c.909-88) was of a b b o t of G l a s t o n b u r y f r o m a b o u t 9 4 0 , t h e n h a d to leave E n g l a n d d u r i n g a p e r i o d of government i n the 9 5 0 s , s p e n d i n g a f e w y e a r s at t h e m o n a s t e r y G h e n t . I n 9 6 0 E d g a r m a d e h i m a r c h b i s h o p of C a n t e r b u r y . A l t h o u g h h e instruments: in celis are,

c o u n t s as a n i n s p i r i n g f o r c e b e h i n d the m o n a s t i c r e v i v a l , it is d i f f i c u l t t o see t a n g i b l e r e s u l t s i n the h i s t o r y of l i t u r g i c a l m u s i c . H e p l a y e d t h e h a r p a n d m a d e he composed the K y r i e Rex splendens a n d the a n t i p h o n Gaudent h e g a v e a n o r g a n to M a l m e s b u r y , b e l l s to A b i n g d o n a n d C a n t e r b u r y . T h e s t o r i e s t h a t h o w e v e r , f a l s e . ( F o r t h e s e a n e c d o t e s see S t u b b s , 1874). O s w a l d ( d . 992) was a m o n k he r e t u r n e d to E n g l a n d i n i n this period of

at C a n t e r b u r y , t h e n at F l e u r y ( S a i n t - B e n o i t - s u r - L o i r e ) ; made archbishop

9 5 9 a n d w a s o r d a i n e d b i s h o p of W o r c e s t e r b y D u n s t a n i n 9 6 2 . T e n y e a r s l a t e r h e w a s of Y o r k . H e h a d f o l l o w e d t h e u s u a l p r a c t i c e was responsible f o r the restoration m o n a s t i c r e v i v a l b y r e p l a c i n g the c l e r i c s of W o r c e s t e r C a t h e d r a l b y m o n k s , a n d h e , like his colleagues, monasteries, a n d f o u n d a t i o n of other n o t a b l y R a m s e y , w h e r e he i n s t a l l e d as f i r s t h e a d G e r m a n u s , w h o h a d

s t u d i e d w i t h h i m at F l e u r y . A s far as w e are c o n c e r n e d , E t h e l w o l d w a s u n d o u b t e d l y the m o s t i m p o r t a n t of t h e s e m e n . H e was a m o n k at G l a s t o n b u r y , a b b o t o f A b i n g d o n , a n d f r o m 963 b i s h o p o f W i n c h e s t e r , the c h i e f c i t y of W e s s e x a n d t h e m a i n seat of t h e r o y a l c o u r t , w h e r e he e x p e l l e d the c l e r i c s f r o m t h e O l d M i n s t e r a n d r e p l a c e d them w i t h m o n k s . It is f r o m W i n c h e s t e r that m o s t o f t h e e a r l i e s t E n g l i s h n o t a t e d l i t u r g i c a l books come. A b o u t 972 E t h e l w o l d and E d g a r called together an ecclesiastical c o u n c i l to l a y d o w n g u i d e - l i n e s f o r the c o n d u c t of the E n g l i s h c h u r c h . M o n k s f r o m G h e n t a n d F l e u r y were there. The document Sepulchri w h i c h resulted, t h e Regularis concordia (ed. S y m o n s 1 9 5 3 ) , d e s c r i b e s m a n y i n t e r e s t i n g d e t a i l s of l i t u r g i c a l p r a c t i c e , i n c l u d i n g t h e p e r f o r m a n c e of t h e Visitatio Ghent on Easter m o r n i n g . of i n f l u e n c e . A l r e a d y at 1858, i . complete a n d F l e u r y were not the only foreign sources

A b i n g d o n E t h e l w o l d h a d been c o n c e r n e d for u n a n i m i t y of c h a n t p r a c t i c e a n d i n v i t e d m o n k s f r o m C o r b i e to p r o v i d e a n e x a m p l e i n r e a d i n g a n d s i n g i n g ( S t e v e n s o n 129, c i t e d b y K n o w l e s 1963, 552). A f t e r the N o r m a n c o n q u e s t W i l l i a m I ( 1 0 6 6 - 8 7 ) r e p l a c e d p r a c t i c a l l y t h e

A n g l o - S a x o n c h u r c h h i e r a r c h y , a b b o t s as w e l l as b i s h o p s , b y N o r m a n s . N o r m a n

i n f l u e n c e h a d a l r e a d y b e e n felt d u r i n g t h e r e i g n of E d w a r d t h e C o n f e s s o r . T w o m o r e I t a l i a n s w h o , l i k e W i l l i a m of D i j o n , h a d b e e n i m p o r t a n t i n N o r m a n m o n a s t i c i s m l e d the reorganized A n g l o - N o r m a n c h u r c h . T h e s e were L a n f r a n c , m o n k of Bee (not part o f W i l l i a m of D i j o n ' s f a m i l y ) f r o m 1042, first p r i o r of S t S t e p h e n ' s , C a e n , f o u n d e d b y D u k e W i l l i a m , a n d first a r c h b i s h o p of C a n t e r b u r y a f t e r t h e C o n q u e s t , c o n s e c r a t e d b y o n e o f h i s f o r m e r p u p i l s at B e e , P o p e A l e x a n d e r I I . Italian, Anselm, p r i o r of figureheads. company, Bee from 1063, who Canterbury (1093-1109). T h e s e are the a less i m p o r t a n t W e do not k n o w h o w m a n y E n g l i s h cantors, p o l i t i c a l l y were replaced by Normans. But when the English H e was succeded by another of in turn became archbishop

c h a n t - b o o k s f r o m b e f o r e a n d after t h e C o n q u e s t are c o m p a r e d w i t h t h e i r c o n t i n e n t a l c o u n t e r p a r t s , t h e v a r i o u s l i n e s of i n f l u e n c e s t a n d c l e a r l y r e v e a l e d , first f r o m C o r b i e , then f r o m monasteries of t h e D i j o n f a m i l y and f r o m Bee (see for example the d e m o n s t r a t i o n s i n H a r t z e l l 1975, H i l e y 1 9 8 0 - 1 , H e s b e r t 1982, ' A n t i p h o n a i r e s ' , H i l e y 1 9 8 6 , ' T h u r s t a n ' ) . W e m u s t of c o u r s e use t h e s e l a b e l s w i t h c a u t i o n , f o r i n p r a c t i c e it is n o t u s u a l l y p o s s i b l e to p i n p o i n t t h e s p e c i f i c s o u r c e of i n f l u e n c e i n q u e s t i o n . T h e uses o f C o r b i e a n d S a i n t - D e n i s , f o r e x a m p l e , are p r a c t i c a l l y i n d i s t i n g u i s h a b l e a c c o r d i n g to the r o u g h tests so f a r d e v e l o p e d . S i m i l a r l y f o r F e c a m p , Jumieges, Mont-SaintM i c h e l , a n d so o n . B u t t h e g e n e r a l p a t t e r n is c l e a r . F r o m W i n c h e s t e r w e h a v e o n l y p r e - C o n q u e s t b o o k s , w h i c h c l e a r l y a l l y t h e m s e l v e s w i t h C o r b i e p r a c t i c e . A f t e r the C o n q u e s t w e c a n see, f o r e x a m p l e , t h e o r d e r of s e r v i c e of B e e ( j u d g e d b y t h e a l l e l u i a and responsory test) taken u p at Christ Church, Canterbury, Worcester, and D u r h a m , t h a t of D i j o n at W e s t m i n s t e r , E v e s h a m , a n d W i n c h c o m b e . A n d s t u d y of t h e m e l o d i c v a r i a n t s i n t h e i r c h a n t s s h o w s t h a t B e e v e r s i o n s w e r e t a k e n u p at S t A l b a n s , D i j o n o n e s at G l o u c e s t e r . B u t i n t e r e s t i n g l y , t h e b o o k s of m o s t c h u r c h e s d o n o t s h o w t h e m e l o d i c v a r i a n t s t y p i c a l of N o r m a n s o u r c e s . I n o t h e r w o r d s , e v e n w h e n t h e o r d e r of s e r v i c e w a s r e v i s e d , t h e c h a n t s w e r e s u n g as b e f o r e , s o m e t h i n g w e h a v e a l r e a d y n o t e d i n t h e case of b o o k s f r o m C l u n i a c h o u s e s . S o w e find t h e C o r b i e / W i n c h e s t e r melodic tradition perpetuated after t h e Conquest at C h r i s t C h u r c h C a n t e r b u r y , C r o w l a n d , P e t e r b o r o u g h , E x e t e r , W o r c e s t e r , the A u g u s t i n i a n p r i o r y of G u i s b o r o u g h , e v e n t h e s e c u l a r use of Y o r k , a n d D o w n p a t r i c k i n n o r t h e r n I r e l a n d . ( S e e M a p I X . 4 . 1 above.) O f t h e t h i r t y o r so l i t u r g i c a l b o o k s o r f r a g m e n t s w i t h m u s i c a l n o t a t i o n t h a t c o m e f r o m W i n c h e s t e r ( R a n k i n 1984 d e s c r i b e s the s l i g h t l y l a t e r a c t i v i t y at have s u r v i v e d f r o m E n g l a n d u p to t h e t i m e of t h e C o n q u e s t (see R a n k i n 1987) a b o u t a t h i r d Exeter). P r i d e of p l a c e is h e l d b y t h e t w o f a m o u s t r o p e r s , C a m b r i d g e , C o r p u s C h r i s t i C o l l e g e 4 7 3 , p r o b a b l y w r i t t e n i n t h e c l o s i n g y e a r s of t h e t e n t h c e n t u r y , a n d O x f o r d , B o d l e i a n L i b r a r y B o d l e y 775, f r o m a b o u t t h e m i d d l e of the e l e v e n t h . A t least p a r t s of the C a m b r i d g e m a n u s c r i p t m a y h a v e b e e n w r i t t e n b y t h e c a n t o r of t h e O l d M i n s t e r , W i n c h e s t e r , W u l f s t a n , a u t h o r of a lost m u s i c treatise a n d of a l o n g p o e m i n h o n o u r of St S w i t h u n w h i c h contains m u c h i n v a l u a b l e i n f o r m a t i o n about the A n g l o - S a x o n c a t h e d r a l of W i n c h e s t e r a n d a c e l e b r a t e d d e s c r i p t i o n of its o r g a n . H e is g e n e r a l l y t h o u g h t to h a v e b e e n t h e c o m p o s e r of t h e o r g a n a i n t h e C a m b r i d g e m a n u s c r i p t , o v e r

150 s e c o n d v o i c e s to be s u n g w i t h c h a n t s of t h e m a s s a n d o f f i c e to m a k e t w o - p a r t polyphony. Both known the t r o p e s a n d t h e p o l y p h o n y i n t h e W i n c h e s t e r m a n u s c r i p t s h a v e abroad, most i n France, some i n eastern s o u r c e s p o s s i b l e been s t u d i e d i n d e t a i l (see P l a n c h a r t 1977, H o l s c h n e i d e r 1 9 6 8 ) . M a n y of t h e t r o p e s w e r e north French

i n t e r m e d i a r i e s , s u c h as t r o p e r s f r o m C o r b i e o r S a i n t - D e n i s , u n f o r t u n a t e l y d o n o t s u r v i v e , n o r is a n y t r o p e r f r o m F l e u r y e x t a n t . It is a p i t y t h a t n o l a t e r E n g l i s h t r o p e r of this type exists, one t r a n s m i t t i n g the pieces in staff-notation, for all the c o m p o s i t i o n s i n h o n o u r of l o c a l E n g l i s h s a i n t s , k n o w n o n l y f r o m t h e sources, remain untranscribable. I t w o u l d p e r h a p s b e o v e r b o l d to say t h a t t h e N o r m a n C o n q u e s t , a n d t h e n e w m e n w h o took c o m m a n d of the c h u r c h i n E n g l a n d , were d i r e c t l y responsible for a ' p u r g e ' of t r o p e s f r o m E n g l i s h b o o k s . T h e e v i d e n c e is i n s u f f i c i e n t . B u t , w h i l e t h e p r o p e r t r o p e s are n o l o n g e r r e c o r d e d , t h e a d v e n t of t h e n e w N o r m a n r e p e r t o r i e s of o r d i n a r y o f - m a s s c h a n t s a n d t h e i r t r o p e s ( s u c h as t h o s e i n the S a i n t - E v r o u l t t r o p e r m e n t i o n e d a b o v e ) is c l e a r l y v i s i b l e . T h e W i n c h e s t e r t r o p e r s also c o n t a i n i n d i v i d u a l r e p e r t o r i e s of s e q u e n c e s w h i c h d o n o t a p p e a r to h a v e s u r v i v e d the C o n q u e s t ( l i s t e d i n F r e r e 1 8 9 4 ) . About half the s e v e n t y - o d d t e x t s are u n i q u e to W i n c h e s t e r , a s t r i k i n g l y large process p r o p o r t i o n . M o s t of t h e m e l o d i e s f o r t h e s e t e x t s are k n o w n e l s e w h e r e . T h e Winchester

m u s t h a v e r e s e m b l e d s o m e w h a t t h a t at S t G a l l , w h e r e a c e n t u r y e a r l i e r N o t k e r (at least i n s o m e cases) p r o v i d e d n e w t e x t s t o r e p l a c e p r e v i o u s o n e s w h i c h he t h o u g h t u n s a t i s f a c t o r y . A l a s , s o m e of t h e u n i q u e W i n c h e s t e r p i e c e s are w r i t t e n to m e l o d i e s n o t k n o w n e l s e w h e r e , a n d t h e r e f o r e r e m a i n lost to u s . T h e g r a v i t y of t h e c h a n g e s l e d to u n r e s t . A t G l a s t o n b u r y t h e n e w N o r m a n abbot T h u r s t a n , p r e v i o u s l y m o n k at C a e n , is r e p o r t e d to h a v e t r i e d t o m a k e t h e m o n k s s i n g t h e ' c h a n t of W i l l i a m of F e c a m p ' ( p r e s u m a b l y W i l l i a m of D i j o n / V o l p i a n o ) , w h i c h , among other things, l e d to a b l o o d y fight between the recalcitrant monks and T h u r s t a n ' s r e t a i n e r s . O n e w o u l d l i k e to k n o w m o r e a b o u t t h e ' c h a n t ' w h i c h c a u s e d t h e t r o u b l e : d i d t h e m o n k s o b j e c t to l e a r n i n g n e w p i e c e s , o r to s i n g i n g o l d o n e s i n a n e w way? (On this question, see David and Handschin 1935-8 and Hiley 1986, 'Thurstan'). W h i l e t h e d e r i v a t i o n o f t h e m o n a s t i c uses i n E n g l a n d is r e a s o n a b l y c l e a r , t h e use of t h e s e c u l a r c a t h e d r a l s s u r v i v e s i n a f r u s t r a t i n g l y i n c o m p l e t e state. W e h a v e c h a n t - b o o k s , b o t h for office a n d mass, f r o m o n l y three: S a l i s b u r y , H e r e f o r d , a n d Y o r k . T h e f o u n d a t i o n s of t h e S a l i s b u r y l i t u r g y as w e k n o w it a p p e a r t o h a v e b e e n l a i d b y B i s h o p (St) before the who O s m u n d i n t h e late e l e v e n t h c e n t u r y . T h e t w e l f t h - c e n t u r y u n n o t a t e d first n o t a t e d c h a n t - b o o k s a p p e a r . T h e s e s e e m to h a v e b e e n d u e t o t h e g r a d u a l S a l i s b u r y , C a t h e d r a l C h a p t e r L i b r a r y 149 s h o w s t h e m a s s l i t u r g y e s t a b l i s h e d i n i t i a t i v e of B i s h o p R i c h a r d P o o r e , w h o i n 1218 c h a n g e d the site of t h e c a t h e d r a l , a n d m a y be the a u t h o r of the c u s t o m a r y a n d o r d i n a l : these s u r v i v e i n several s u c c e s s i v e ' e d i t i o n s ' (see F r e r e 1 8 9 8 - 1 9 0 1 ) . A m o n g t h e earliest c h a n t - b o o k s are t h r e e n o t a t e d i n v e r y s i m i l a r h a n d s , of a b o u t t h e s e c o n d q u a r t e r of t h e t h i r t e e n t h c e n t u r y :

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C a m b r i d g e , U n i v e r s i t y L i b r a r y , M m . 2. 9 ( f r o m B a r n w e l l near C a m b r i d g e , facs. in f o l l o w e d b y the n o t e d m i s s a l M a n c h e s t e r , J o h n R y l a n d s L i b r a r y , lat. 24, f o r H e n r y of C h i c h e s t e r , c a n o n of E x e t e r i n S a l i s b u r y a r o u n d 1260 C a t h e d r a l , to

p r e s e n t to t h e c a t h e d r a l t h e r e ( H o l l a e n d e r 1 9 4 2 - 4 ) . S a l i s b u r y ( ' S a r u m ' ) u s e b e c a m e a s o r t of n a t i o n a l r i t e b y t h e l a t e r M i d d l e A g e s . T h e reasons f o r t h i s are (i) the not entirely clear, the but a m o n g the c r u c i a l factors were the a following: seat of archbishopric, Christ C h u r c h Canterbury, was

m o n a s t i c h o u s e w h o s e l i t u r g y c o u l d n o t be a u t o m a t i c a l l y u s e d i n s e c u l a r

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a n d p a r i s h c h u r c h e s ; ( i i ) t h e r o y a l c h a p e l s e e m s to h a v e u s e d t h e S a l i s b u r y l i t u r g y , t h o u g h f r o m w h a t t i m e is n o t k n o w n ; i n d e e d a n o t e i n a f o u r t e e n t h - c e n t u r y m i s s a l s t a t e s t h a t t h e use of t h e r o y a l c h a p e l is a c t u a l l y n o r m a t i v e f o r t h e r i t e e l s e w h e r e ( H o h l e r 1978, 3 7 ) ; ( i i i ) f r o m t h e t h i r t e e n t h c e n t u r y o n w a r d , p r o f e s s i o n a l w o r k s h o p s i n O x f o r d , L o n d o n , a n d l a t e r C a m b r i d g e a p p e a r to h a v e b e e n a b l e t o s u p p l y b o o k s of S a l i s b u r y u s e ' o n d e m a n d ' , so to s p e a k , m a k i n g it easy f o r c h u r c h e s to a c q u i r e b o o k s of t h i s t y p e r a t h e r t h a n t h o s e o f t h e i r d i o c e s a n c a t h e d r a l ( D r o s t e 1983). A good which i l l u s t r a t i o n of t h i s is t h e m i s s a l M u n i c h , B a y e r i s c h e S t a a t s b i b l i o t h e k , e l m 7 0 5 , d e d i c a t i o n feast of t h e p a r i s h c h u r c h of L y d d ( d i o c e s e C a n t e r b u r y ) . E a r l y s o u r c e s f r o m W a l e s , I r e l a n d , a n d S c o t l a n d are l a c k i n g . It w a s u n d e r E n g l i s h i n f l u e n c e o r i n t h e t r a i n of E n g l i s h a r m s t h a t t h e c h a n t t r a d i t i o n s r e p r e s e n t e d i n t h e earliest extant sources (of the thirteenth flavour' century) were formed, with the usual m o d i c u m of i t e m s i n h o n o u r of l o c a l s a i n t s . V e r y rarely can we detect 'local i n the chants that were p r o d u c e d l o c a l l y . T h e r e is n o f u n d a m e n t a l s t y l i s t i c d i f f e r e n c e b e t w e e n c h a n t w r i t t e n i n E n g l a n d a n d that w r i t t e n i n F r a n c e . O f the sequences for St P a t r i c k i n I r i s h sources, for e x a m p l e , Letabundus dec ante t is a c o n t r a f a c t u m lux est hodierna of t h e popular C h r i s t m a s sequence (see M M S 4 f o r a f a c s i m i l e of C a m b r i d g e A d d . 7 1 0 ) ; a n d w h i l e H e s b e r t c o m m e n t s o n t h e ' I r i s h n e s s ' of Laeta ( i n t h e s a m e m a n u s c r i p t ) , its ' m a j o r mode' m e l o d y s e e m s t o t h e p r e s e n t a u t h o r t y p i c a l of m a n y c o n t e m p o r a r y c o m p o s i t i o n s . T h e o f f i c e of S t D a v i d i n A b e r y s t w y t h , N a t i o n a l L i b r a r y 2 0 5 4 1 E (see O . T . 1987) is a c o n t r a f a c t u m of t h e o f f i c e of S t T h o m a s of C a n t e r b u r y . ( F o r
T

b e a r s a c o l o p h o n i n d i c a t i n g t h a t it w a s c o p i e d i n O x f o r d , a n d w h o s e c a l e n d a r has t h e

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e t c . a n d W o o d s 1 9 8 7 . ) T h e a i m is to p r o v i d e

m u s i c f o r t h e p r a i s e of t h e s a i n t , a n d w h a t is u n u s u a l o r r a d i c a l l y n e w w i l l n o t as a r u l e

IX.7. Planchart 1985.

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u s e s , c h a n t - b o o k s f r o m I t a l y n o r t h of R o m e are G r e g o r i a n . B u t t h e y d i s p l a y g r e a t v a r i e t y of c o n t e n t a n d a p p e a r a n c e , s o m e of it the r e s u l t of e s t a b l i s h i n g l o c a l t r a d i t i o n s , s o m e d u e to t h e i m p o r t a t i o n o f f o r e i g n p r a c t i c e s . A f e w e x a m p l e s o f t h e s e o v e r l a p p i n g u s e s m a y be g i v e n h e r e . The different styles of notation in Italian manuscripts have already been Breton m e n t i o n e d , a n d the o c c u r r e n c e of G e r m a n n o t a t i o n at M o n z a a n d B o b b i o ,

n o t a t i o n at P a v i a , a n d L a o n n o t a t i o n at C o m o ( I V . 2 ) . T h i s a c c o r d s to s o m e e x t e n t w i t h t h e a f f i l i a t i o n s r e v e a l e d b y t h e m e l o d i c v a r i a n t s i n c h a n t s f o r t h e p r o p e r of m a s s : M o n z a ( M o n z a , B a s i l i c a S . G i o v a n n i C . 12/75 eastern 'bloc'. The nearest relative of a n d C . 13/76) a l l i e s i t s e l f w i t h Capitolare 186, the Vercelli, Biblioteca from

B a l e r n a n e a r L a k e C o m o , is t h e L a o n g r a d u a l L a o n , B i b l i o t h e q u e M u n i c i p a l e 2 3 9 . T h e s o u r c e s f r o m P a v i a ( t h e a s c r i p t i o n is p r o v i s i o n a l ) , I v r e a , B i b l i o t e c a C a p i t o l a r e 6 0 a n d V e r c e l l i , B i b l i o t e c a C a p i t o l a r e 5 6 , are r e l a t e d , t h o u g h n o t so c l o s e l y , to B r e t o n sources. is n o t A m a j o r i t y o f t h e t r o p e s i n I v r e a 60 a p p e a r to h a v e b e e n i m p o r t e d f r o m unusual in north Italy. The monastery of N o n a n t o l a , near Bologna, for F r a n c e , yet i t s s e q u e n c e r e p e r t o r y is d o m i n a t e d b y G e r m a n p i e c e s . T h e l a t t e r f e a t u r e e x a m p l e , had a sequence repertory largely based o n N o t k e r ' s c o l l e c t i o n ; one w o n d e r s i f t h i s fact is c o n n e c t e d w i t h t h e e a r l y a p p e a r a n c e of a t o n a r y l i k e t h e R e i c h e n a u o n e i n a N o n a n t o l a m a n u s c r i p t ( R o m e , B i b l i o t e c a Casanatense 5 4 s e e I I I . 14). p r e p a r i n g an e d i t i o n of the N o n a n t o l a sequences.) Since numerous G e r m a n c l e r i c s w e r e a p p o i n t e d to i m p o r t a n t positions in the I t a l i a n c h u r c h t h r o u g h o u t t h e e a r l y M i d d l e A g e s , it is n o t s u r p r i s i n g t h a t t h e i n f l u e n c e of G e r m a n l i t u r g i c a l p r a c t i c e w a s s t r o n g . It s e e m s c e r t a i n , f o r e x a m p l e , t h a t t h e e a r l y appearance of t h e G e r m a n o r ' A u g s b u r g ' f o r m o f t h e Visitatio Sepulchri, 'Quern eleventh queritis o t r e m u l e mulieres', i n A q u i l e i a ( U d i n e , B i b l i o t e c a C a p i t o l a r e 234, t o t w e l f t h c e n t u r y ) is d u e to t h e a p p o i n t m e n t of A u g s b u r g c a n o n s t o t h e (Sequences i n a l l I t a l i a n s o u r c e s u p t o r . 1 2 0 0 h a v e b e e n c a t a l o g u e d b y B r u n n e r 1 9 8 5 , w h o is a l s o

patriarchate graduals thirteenth late Levy

i n the eleventh c e n t u r y : E b e r h a r d i n 1 0 4 2 - 8 a n d ( m o r e l i k e l y ) H e i n r i c h i n 1 0 7 7 - 8 4 . T h i s w o u l d also be w h y the m e l o d i c variants i n the s u r v i v i n g A q u i l e i a n Rome, B i b l i o t e c a A p o s t o l i c a V a t i c a n a , R o s s i 76 a n d U d i n e 8 . 2 ( b o t h ancient n o n - R o m a n chants have

c e n t u r y ) a g r e e w i t h s o u r c e s i n t h e e a s t e r n ' b l o c ' . ( O n A q u i l e i a see a l s o H u g l o 1 9 7 6 ) . Apparently 1970, often turned u p in relatively ' A n t i e n n e s ' , 1954, 'Vestiges', I t a l i a n s o u r c e s (see W i l m a r t 1929, H u g l o 1952,

1971, B a r o f f i o 1978, B o e 1987). W e s h o u l d n o t , t h e r e f o r e , a u t o m a t i c a l l y a s s u m e

t h a t i t e m s i n I t a l i a n m a n u s c r i p t s w h i c h are also k n o w n i n F r a n c e o r G e r m a n y w e r e n e c e s s a r i l y i m p o r t e d i n t o I t a l y . A s a s i m p l e i l l u s t r a t i o n of t h i s p o i n t o n e m i g h t t a k e

t h e t r o p e s f o r t h e i n t r o i t of m a s s o n E a s t e r D a y as t h e y a p p e a r i n P i a c e n z a , B i b l i o t e c a C a p i t o l a r e 6 5 , t h e m a s s i v e c o m p e n d i u m of t h e e n t i r e c h a n t r e p e r t o r y of P i a c e n z a c a t h e d r a l , b e g u n i n 1142 church. The edition repertories easy. P i a c e n z a 65 b e g i n s w i t h a v e r s i o n of t h e Quern queritis t h e s e n t e n c e s Quern queritisIesurn surrexit carissirni Resurrexit. dicentes, verba canite Christi, NazarenumNon t h e p i e c e c o n c l u d e s w i t h t h e verses Alleluia carissirni d i a l o g u e , one where, after est hie . . . he nunciate dominus. quia Eia resurrexit n o t l o n g after t h e c o m m e n c e m e n t of t h e n e w c a t h e d r a l 3 make comparisons with other a n d l i s t s of t r o p e s i n C T

p r e s u m a b l y c o m p o s e d to l e a d i n t o t h e E a s t e r i n t r o i t is f o u n d o t h e r w i s e o n l y i n a f e w o t h e r I t a l i a n Rankin

T h e v e r s e Eia

sources and i n C a m b r a i , 1985, (Ex. small 'Quern IX.7.1). queritis ).

1

B i b l i o t h e q u e M u n i c i p a l e 7 5 , f r o m S a i n t - V a a s t at A r r a s .

W h e r e d i d it o r i g i n a t e ? T h a t d i a l o g u e has b e e n d i s c u s s e d f r e q u e n t l y (see

B u t f o r t h e i n t r o i t i t s e l f P i a c e n z a 65 has m o r e t r o p e v e r s e s elicit patri a n d Mirabile from laudat appear elsewhere only i n a Cenis, Pistoia, and

T h e t r o p e v e r s e s Qui n u m b e r of B e n e v e n t o . Hodie

Italian sources, exultent,

N o v a l e s a near M o n t

h o w e v e r , t u r n s u p i n a s l i g h t l y d i f f e r e n t r a n g e of I t a l i a n

sources a n d i n the t w o earliest St G a l l tropers, St G a l l , S t i f t s b i b l i o t h e k 484 a n d 3 8 1 . T h e text w a s also c o p i e d i n t o M u n i c h , B a y e r i s c h e S t a a t s b i b l i o t h e k , e l m 14843, w h i c h s o m e s c h o l a r s h a v e d a t e d as e a r l y as the n i n t h c e n t u r y . T h e s e c o n d p a r t of t h e v e r s e , ' r e s u r r e x i t l e o f o r t i s d e o g r a c i a s ' , is w h a t u s u a l l y f o l l o w s ' A l l e l u i a r e s u r r e x i t d o m i n u s ' i n t h e d i a l o g u e at t h e s e p u l c h r e . W h a t has h a p p e n e d ? H a s t h a t s e n t e n c e b e e n l i f t e d f r o m t h e d i a l o g u e as p a r t of a r e v i s i o n , a n d if s o , w a s it d o n e at S t G a l l o r i n I t a l y ? A t S t G a l l Hodie exultent iusti s t a r t s a series of v e r s e s , r a t h e r t h a n finishing o n e o f f as i n Piacenza and other Italian sources. I n a r e c e n t d i s c u s s i o n of s o m e o t h e r verses b e g i n n i n g ' H o d i e . . .' R e i e r p o i n t e d o u t (a) t h a t t h e y h a d w i d e d i s t r i b u t i o n i n I t a l i a n s o u r c e s , a n d (b) 1981, exultent i . 157). iusti i n P i a c e n z a , Hodie exultent that they all h a d the has e x a c t l y t h e s a m e i n other versions Hodie Hodie same m e l o d y (Reier t r o p e s , u n l i k e Hodie A l t h o u g h Reier's examples were introductory resurrexit leo fortis

m e l o d y as t h e o t h e r s . T h a t is t h e s a m e as Hodie exultent Quern exultent iusti queritis iusti.

o f t h e E a s t e r d i a l o g u e . S o w e s h o u l d at least c o n s i d e r t h e p o s s i b i l i t y t h a t d i a l o g u e , w h i c h i n t u r n i n some versions took a verse f r o m

is a n o l d I t a l i a n i n t r o d u c t o r y t r o p e , p e r h a p s d i s p l a c e d b y the p o p u l a r T h i s s o r t of r e a s o n i n g c a r r i e s n o c o n v i c t i o n if t h e m u s i c is n o t t a k e n

i n t o a c c o u n t . I t is t h e u s e of t h e s a m e m e l o d y f o r s e v e r a l d i f f e r e n t t r o p e verses w h i c h is u n u s u a l a n d a l e r t s o n e to t h e p o s s i b i l i t y of a n ' o r i g i n a l ' l a y e r of I t a l i a n m a t e r i a l . A f t e r t h e s e t r o p e v e r s e s P i a c e n z a 65 has t h e E a s t e r Alleluia p r o s u l a f o r t h e ' A l l e l u i a ' . T h e r e f o l l o w s the s e q u e n c e Clara The m e l o d y of this sequence was widely known, Pascha gaudia nostrum festa with a paschalia. and and was 144,

being called 'Angelica'

' N o b i l i s s i m a ' at W i n c h e s t e r , ' M u s a ' i n A n g e r s , B i b l i o t h e q u e M u n i c i p a l e f o r i t , Johannes Jesu Christo a n d Laurenti David magni martyr. Clara nobis,

' R o m a n a ' i n S t G a l l ( w h i c h m a y n o t be e n t i r e l y f a n c i f u l ) . N o t k e r c o m p o s e d t w o t e x t s gaudia k n o w n i n F r a n c e , as w a s a n o t h e r E a s t e r text f o r t h i s m e l o d y , Die and another

7. North

Italy

587 (Piacenza, B i b l . C a p . 65,

E x . I X . 7 . 1 . T r o p e verses Qui die at patri, etc. for introit Resurrexi fo. 235 )
v

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substantial gaudia

Italian collection

of

s e q u e n c e s , M o n z a , B a s i l i c a S . G i o v a n n i 13/76, Clara

a n d N o t k e r ' s t w o texts o n N o t k e r ' s texts gaudia and Die Clara

all a p p e a r . P r e v i o u s d i s c u s s i o n of t h e s e q u e n c e s has c o n c e n t r a t e d and their possible m o d e l s . C r o c k e r (1977, 146-59) treated

nobis as ' W e s t F r a n k i s h ' b u t t h o u g h t n e i t h e r a w h o l l y c o n v i n c i n g s t a r t i n g - p o i n t f o r N o t k e r . H e r e c o g n i z e d t h a t t h e m e l o d y s t o o d r a t h e r o u t s i d e t h e m a i n s t r e a m of t h e sequences he w a s d i s c u s s i n g , b u t d i d not p u r s u e the m a t t e r melody bears all the h a l l m a r k s of an Italian composition repetitive m e l o d y and consequent further. (see I n fact the above, II.22.v):

restricted range, w i t h o c c a s i o n a l g r o u p s of t w o or

t h r e e n o t e s t o a s y l l a b l e ( i n I t a l i a n s o u r c e s ; t h e y are o f t e n ' t i d i e d u p ' i n f o r e i g n o n e s ) . A n d its p r o m i n e n t p l a c e o n E a s t e r D a y alerts o n e to t h e p o s s i b i l i t y t h a t i n P i a c e n z a 65

(as

i n m a n y other

Italian sources:

see

Brunner

1985,

220)

the piece

stands

in

its

o r i g i n a l p l a c e . T h e t e x t is d r a m a t i c a l l y c o l o u r f u l , a n a c c o u n t o f t h e h a r r o w i n g of h e l l , as C r o c k e r o b s e r v e s , w i t h d e m o n s h o w l i n g i n l i n e 5 , s a i n t s a c c l a i m i n g t h e L o r d i n l i n e 6 (Ex. IX.7.2). the

O n c e a g a i n i t is m u s i c a l f e a t u r e s w h i c h p o i n t i n t h e d i r e c t i o n of w h a t m a y b e ' o r i g i n a l ' . I n cases l i k e t h i s , I t a l i a n c h a n t does not s o u n d l i k e c h a n t e v e r y w h e r e

else.

Ex. IX.7.2.

S e q u e n c e Clara
_ ^

gaudia

festa paschalia
^
9

(Piacenza, B i b l . C a p . 65, f o . 236 )

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0

P a - t r i - a r - c h a r u m om-niumque simul prophe-tarum regum ponti - fi - cum De - ti - nebantur claustra t a r t a r e - a mortis c r u - o - re retru-sa

Donee uic-tor mortis do-minus o m n i - u m at-que sanctus san-cto-rum Cum crucis t r o p h e - o in-fernum pe-netrans ab-e - git claustra se - ua B 1: Quis . . . est de-mones u - lulant cruci - fer qui nostra ut de-us soluit uin-cu-la cuncta F u - g a - t i s te-nebris fulgu-rat t h e - a - 1 r a - lis orror ru - ti-lat l u - m i - n e perlustra-tus * ^

Clamabant sancti a d u e - n i s - t i O iam domi-ne re - gum rex a - u e Quern o-lim ua-tes p r e - c i - n e - r e iam nos habet re-demptor rex Christe

Tunc . . . Ie-sus cum leta sanctorum ag-mi-ne Cu - i psal-le - re laudes cum omni cardi-ne

proces-sit non cessat

mor-te om-nis

uin-cto e-tas

Decantant a l - l e - l u - i a .

IX.8. The

B E N E V E N T O

A N D

M O N T E C A S S I N O in the the

e x i s t e n c e of a n o n - R o m a n r i t e a n d c o r r e s p o n d i n g n o n - R o m a n c h a n t has a l r e a d y b e e n d i s c u s s e d ( V I I I . 5 ) . T h e are i n fact G r e g o r i a n b o o k s w i t h of O l d B e n e v e n t a n chant

L o m b a r d d u c h y of B e n e v e n t o sources

principal

r e l i c s of

d i s p l a c e d r e p e r t o r y s t i l l c o p i e d a l o n g s i d e t h e i m p o r t e d o n e . O f c o u r s e , t h e s e b o o k s are a l s o i m p o r t a n t as s o u r c e s of G r e g o r i a n c h a n t , w i t h t h e l o c a l p e c u l i a r i t i e s of r e p e r t o r y a n d m e l o d i c r e a d i n g s w e s h o u l d e x p e c t of a n y g r o u p of G r e g o r i a n s o u r c e s . M o s t of the surviving chant manuscripts are from Benevento itself, which has slightly Planchart Beneventan of the o b s c u r e d t h e fact that t h e great B e n e d i c t i n e m o n a s t e r y of M o n t e c a s s i n o l a y i n t h e s a m e a r e a a n d s h a r e s m a n y d e t a i l s of c h a n t p r a c t i c e w i t h B e n e v e n t o 1990). K e l l y (1985, 'Montecassino', 1989) (see has m a d e it c l e a r t h a t O l d

c h a n t w a s s u n g at M o n t e c a s s i n o as w e l l . U n f o r t u n a t e l y , C a s s i n e s e s o u r c e s are f e w e r a n d l a t e r , a n d it is t h e r e f o r e d i f f i c u l t to assess its c o n t r i b u t i o n t o t h e e s t a b l i s h m e n t Gregorian Beneventan Corpus.) T h e p r i n c i p a l s o u r c e s f r o m the t w o c e n t r e s , w h i c h d a t e f r o m t h e e a r l y e l e v e n t h to the thirteenth century, are the following (in Benevento, Archivio Capitolare, Montecassino, A r c h i v i o della Badia, and Rome, Biblioteca Apostolica Vaticana): from Benevento: n o t e d m i s s a l s : B e n e v e n t o 33 ( P a l M u s 20) a n d 30 ( p a r t i a l l y n o t a t e d ) g r a d u a l s : B e n e v e n t o 38, 3 9 , 4 0 , 34 ( P a l M u s 15), a n d 35 c o m b i n e d missal and breviary: Benevento noted breviary (winter part): Benevento from Montecassino: 1920 22 chant and the (The burgeoning repertory of s e q u e n c e s a n d by Brunner tropes the in region. s e q u e n c e s are c a t a l o g u e d 1985,

trope

r e p e r t o r y is b e i n g e d i t e d b y B o e a n d P l a n c h a r t i n t h e s e r i e s B e n e v e n t a n u m T r o p o r u m

a n t i p h o n e r : B e n e v e n t o 21 (text e d n . b y H e s b e r t i n C V I O 2) n o t e d m i s s a l s : R o m e , V a t . lat. 6 0 8 2 ( p o s s i b l y f o r S a n V i n c e n z o al V o l t u r n o ) a n d M o n t e c a s s i n o 540 ( u s e d at P l o m b a r i o l a ) g r a d u a l : M o n t e c a s s i n o 546 (winter part) a n t i p h o n e r : M o n t e c a s s i n o 542 (winter part) t r o p e r : U r b . lat. 602 ( i n v e n t o r y a n d partial r e c o n s t r u c t i o n B o e t h e o r y c o m p e n d i u m a n d t o n a r i e s : M o n t e c a s s i n o 318 Brunner related 1981) sources: from 1669 a n d P a r i s , B i b l i o t h e q u e N a t i o n a l e , n . a. 1. 1985) 1969, ( R I S M B/III/2, H u g l o

g r a d u a l s : R o m e , V a t . l a t . 10673 ( o n l y a large f r a g m e n t r e m a i n s ; P a l M u s 14) A p u l i a or possibly Benevento, from Gubbio

n o t e d m i s s a l s : R o m e , B a r b . 603 f r o m C a i a z z o , B a l t i m o r e , W a l t e r s A r t G a l l e r y 6 f r o m C a n o s a (text e d . R e h l e 1 9 7 2 - 3 ) , a n d R o m e , O t t o b . l a t . 5 7 6 ( p a r t i a l l y n o t a t e d ) t r o p e r : N a p l e s , B i b l i o t e c a N a z i o n a l e V I G . 34 f r o m T r o i a

(Assignment

of these s o u r c e s

to p a r t i c u l a r i n s t i t u t i o n s a n d d a t e s is Boe 1985, Kelly

occasionally and the

r e v i s e d , b u t t h e g e n e r a l area is not i n d o u b t . See and Thibaut.)

1989,

c a t a l o g u e ( i n p r o g r e s s ) of s o u r c e s i n the A r c h i v i o C a p i t o l a r e at B e n e v e n t o b y M a l l e t T h i s s h o r t l i s t d o e s n o t m e n t i o n o t h e r t y p e s of l i t u r g i c a l b o o k s o r t h e numerous

f r a g m e n t a r y s o u r c e s , s o m e f r o m D a l m a t i a (the A d r i a t i c c o a s t of m o d e r n Y u g o s l a v i a ) . I n p a r t i c u l a r , a n u m b e r of s p l e n d i d r o l l s b e a r i n g the E x u l t e t c h a n t f o r t h e l i g h t i n g of t h e p a s c h a l c a n d l e o n E a s t e r E v e h a v e b e e n p r e s e r v e d ( A v e r y 1936, The C a v a l l o 1973). stimulated d i s t i n c t i v e s c r i p t a n d n o t a t i o n of m a n u s c r i p t s f r o m t h e a r e a has

s c h o l a r s to h u n t d o w n a great n u m b e r of s o u r c e s , a n d w e are r e l a t i v e l y w e l l i n f o r m e d a b o u t t h e e x t e n t a n d n a t u r e of the s u r v i v i n g c o r p u s (see L o e w a n d B r o w n 1 9 8 0 ) . T h e s t o r y of t h e s u p e r s e s s i o n of t h e O l d B e n e v e n t a n r i t e a n d c h a n t b y t h e R o m a n r i t e a n d G r e g o r i a n c h a n t is a c o m p l i c a t e d o n e b u t v e r y i n t e r e s t i n g . A g r e a t d e a l o f it has b e e n r e c o n s t r u c t e d b y H e s b e r t ( 1 9 3 8 - 4 7 , P a l M u s 14, e t c . ) , a n d K e l l y ( 1 9 8 9 , 1 8 - 2 5 ) p r o v i d e s a r e c e n t s u m m a r y . T h e v e r s i o n of t h e R o m a n r i t e as it a p p e a r s i n its e a r l i e s t B e n e v e n t a n s o u r c e s ( B e n e v e n t o 33 f r o m a r o u n d 1000) has m a n y a r c h a i c f e a t u r e s w h i c h h a d l o n g been o v e r h a u l e d i n the F r a n k i s h e m p i r e , b u t w h i c h persisted i n R o m e itself, as m a y b e seen i n t h e O l d R o m a n c h a n t - b o o k s of t h e e l e v e n t h c e n t u r y . T h a t the B e n e v e n t a n b o o k s w i t h R o m a n o r d e r of s e r v i c e h a v e G r e g o r i a n c h a n t has b e e n t a k e n to d e n o t e F r a n k i s h , r a t h e r t h a n s p e c i f i c a l l y R o m a n i n f l u e n c e , a n d it has b e e n a r g u e d that the G r e g o r i a n chant must have a r r i v e d i n Benevento at t h e t i m e w h e n the l i t u r g i c a l a r c h a i s m s w e r e s t i l l c u r r e n t i n t h e F r a n k i s h e m p i r e , t h a t is i n t h e e i g h t h c e n t u r y . It is c l e a r f r o m t h e m u s i c m a n u s c r i p t s t h e m s e l v e s t h a t G r e g o r i a n a n d O l d B e n e v e n t a n c h a n t l i v e d s i d e b y s i d e , so to s p e a k , f o r o v e r a c e n t u r y . C o u l d t h e y h a v e c o e x i s t e d s i n c e as f a r b a c k as t h e late e i g h t h c e n t u r y ? K e l l y sees P a u l W a r n e f r i d (the Deacon), biographer of Gregory the Great, as a possible agent for FrankishTwelve G r e g o r i a n chant in Benevento ( K e l l y 1989, 2 2 - 5 ) . T h e age of t h e i n t r o d u c t i o n of

G r e g o r i a n c h a n t s e e m s to be c o n f i r m e d b y t h e fact t h a t t h e F e a s t of t h e

B r o t h e r s , i n t r o d u c e d at B e n e v e n t o i n 7 6 0 , has O l d B e n e v e n t a n c h a n t , w h e r e a s f o r t h e F e a s t of S t M e r c u r i u s n o n e s u r v i v e s , n o r f o r t w o s a i n t s w h o s e use w a s t a k e n u p at B e n e v e n t o i n the n i n t h c e n t u r y : J a n u a r i u s a n d B a r t h o l o m e w . Y e t for B a r b a t u s , w h o s e c u l t also d e v e l o p e d i n t h e n i n t h c e n t u r y , s o m e O l d B e n e v e n t a n a n t i p h o n s d o s u r v i v e . T h e r o l e of M o n t e c a s s i n o , S t B e n e d i c t ' s o w n m o n a s t e r y , is u n c l e a r . F o u n d e d i n t h e e a r l y s i x t h c e n t u r y , it w a s d e s t r o y e d b y t h e L o m b a r d s i n 577 a n d h a d to b e r e f o u n d e d b y P e t r o n a x of B r e s c i a i n 7 1 7 . I n t h e i n t e r i m m o n k s f r o m F l e u r y h a d c a r r i e d o f f t h e m o r t a l r e m a i n s of B e n e d i c t a n d h i s sister S c h o l a s t i c a . S o t h e F r a n k i s h ' a c q u i s i t i o n ' of R o m a n c h a n t h a d a t a n g i b l e m o n a s t i c c o u n t e r p a r t . W h a t t h e c h a n t of M o n t e c a s s i n o m a y h a v e b e e n l i k e i n t h e e i g h t h c e n t u r y w e d o n o t k n o w , w h i c h is u n f o r t u n a t e because Boniface sent h i s d i s c i p l e S t u r m i , f u t u r e a b b o t of F u l d a , to R o m e and M o n t e c a s s i n o f o r t w o y e a r s to s t u d y the B e n e d i c t i n e r u l e . C h a r l e m a g n e s e n t t h e r e i n 7 8 7 f o r a c o p y of t h e r u l e . I n 883 it w a s b u r n e d b y t h e S a r a c e n s a n d r e m a i n e d d e s e r t e d f o r s i x t y y e a r s . T h e r e f o l l o w s the p e r i o d f o r w h i c h O l d B e n e v e n t a n c h a n t c a n be

d o c u m e n t e d at M o n t e c a s s i n o , after w h i c h w e h a v e t h e f o l l o w i n g v a l u a b l e r e c o r d o f m o v e s to i n t r o d u c e G r e g o r i a n . W h a t t h e n o n - I t a l i a n popes w h o o c c u p i e d the H o l y See f r o m the e n d of t h e t e n t h c e n t u r y a n d a g a i n f r o m 1046 o n w a r d t h o u g h t of t h e O l d R o m a n c h a n t t h e y h e a r d i n R o m e , so d i f f e r e n t f r o m t h e G r e g o r i a n c h a n t of t h e i r n a t i v e l a n d s , w e d o n o t k n o w . It was by the G e r m a n Gregory V (996-9) that a German type of p o n t i f i c a l w a s i n t r o d u c e d i n R o m e (see I I I . 1 2 ) , b u t w e h a v e n o s p e c i f i c r e c o r d o f c h a n g e s i n c h a n t practice i n R o m e u n t i l m u c h later. I n the m i d - e l e v e n t h century M o n t e c a s s i n o h a d t w o G e r m a n abbots i n succession, R i c h e r i u s a n d F r e d e r i c k , the latter b e c o m i n g Pope S t e p h e n I X i n 1057. I n 1058, o n a visit to M o n t e c a s s i n o , he f o r b a d e the s i n g i n g of ' A m b r o s i a n u s c a n t u s ' , b y w h i c h is m e a n t O l d B e n e v e n t a n c h a n t ( M G H Die that Chronik von Montecassino, of t h e g r e a t a b b o t (Scriptores) been marks a 3 5 2 - 3 ) . T h e task of s u p p r e s s i n g it m u s t h a v e history (Bloch

D e s i d e r i u s , the future V i c t o r I I I , whose abbacy

cultural high point i n Montecassino's

1 9 8 5 , C o w d r e y 1 9 8 3 ) . I t is

d i s a p p o i n t i n g t h a t p r a c t i c a l l y n o m u s i c a l s o u r c e of t h i s t i m e h a s s u r v i v e d , w i t h t h e e x c e p t i o n of the h u g e theoretical c o m p e n d i u m , M o n t e c a s s i n o 318. The G r e g o r i a n tradition established of t r o p e s at B e n e v e n t o and Montecassino a n d the repertories a n d sequences, though naturally containing distinctive local

d e t a i l s , w e r e b y n o m e a n s p a r o c h i a l . M a n y of t h e t r o p e s a n d s e q u e n c e s k n o w n t h e r e a p p e a r t o h a v e t r a v e l l e d l o n g d i s t a n c e s (see B r u n n e r 1 9 8 1 ) , a n d t h e m e l o d i c v a r i a n t s i n t h e p r o p e r c h a n t s o f m a s s , c o l l a t e d b y t h e m o n k s of S o l e s m e s (Graduel clear. I n t h e late e l e v e n t h c e n t u r y a n d t w e l f t h , N o r m a n i n v a d e r s c o n q u e r e d S o u t h Italy a n d S i c i l y . W i t h t h e m c a m e c h u r c h m e n a n d the chant traditions of their native l a n d ( H i l e y 1981, 1983, ' Q u a n t o ' , 1988). B u t this seems to have m a d e little i m p a c t u p o n Beneventan a n d Cassinese practice. O n l y one m a n u s c r i p t shows a m e r g i n g of the 1 7 5 - 6 ; o n e page f a c s . A r n e s e 1967, 1 4 6 - 9 a n d d i f f e r e n t t r a d i t i o n s . T h i s is t h e t r o p e r f r o m T r o i a , N a p l e s V I . G . 3 4 , c o m p i l e d l a t e i n the t w e l f t h c e n t u r y ( R I S M B / V / l , p i . X , S t a b l e i n 1975, 145). T h e m a n u s c r i p t i s w r i t t e n i n B e n e v e n t a n s c r i p t a n d n o t a t i o n . E v e n as late as t h i s , t h e r e are O l d B e n e v e n t a n r e m a i n s : t h e p r o c e s s i o n a l a n t i p h o n Deprecamur i n a n O l d B e n e v e n t a n v e r s i o n ( L e v y 1 9 8 2 , 95) a n d t h e O l d B e n e v e n t a n domine phrase ( E x . I X . 8 . 1 ) . B u t the w i n d s of change have b l o w n s t r o n g l y . T h e m a n u s c r i p t has almost n o t h i n g i n c o m m o n w i t h t h e g r e a t B e n e v e n t a n g r a d u a l s : t w o of i t s s e q u e n c e s o n l y are t a k e n f r o m t h e t r a d i t i o n a l B e n e v e n t a n r e p e r t o r y (Qui purgas animas a n d Precursor Christi). T h e L a u d e s regiae, the a c c l a m a t o r y chant f o r the c r o w n - w e a r i n g of the r u l e r , s u n g a f t e r t h e G l o r i a o n t h e h i g h e s t feasts o f t h e y e a r , h a v e i n t h i s m a n u s c r i p t a v e r s i o n t h a t is p e c u l i a r t o N o r m a n s o u r c e s ( K a n t o r o w i c z 1946). Practically a l l the K y r i e a n d G l o r i a m e l o d i e s a n d t r o p e s are t a k e n f r o m t h e N o r m a n t r a d i t i o n ( i n v e n t o r y i n H i l e y 1 9 8 6 , ' O r d i n a r y ' ; t h e S a n c t u s a n d A g n u s are l o s t f r o m t h e e n d o f t h e m a n u s c r i p t ) . te domine Peccavimus romain IV), are s u r p r i s i n g l y c l o s e t o t h o s e of A q u i t a n i a n s o u r c e s . T h e r e a s o n s f o r t h i s a r e n o t

( K e l l y 1 9 8 9 , 2 8 4 ) , h a r d l y m o r e t h a n a t h r e e f o l d v a r i a t i o n of t h e s a m e s i m p l e

592 Ex. IX.8.1.

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II.23.xii

a n d S t a b l e i n , ' E p i s t e l ' , M G G ) , w i t h s e v e r a l u n i c a . M a n y of t h e s e w e r e a l s o k n o w n i n S i c i l y a n d n o r t h F r a n c e , t h o u g h , s i n c e t h e i r s o u t h I t a l i a n s o u r c e s are e q u a l l y e a r l y , it is n o t libri clear where some of t h e s e p i e c e s faciet originated. Were bona they brought by the Lectio N o r m a n s , o r t a k e n b a c k n o r t h b y t h e m ? E x . I X . 8 . 2 g i v e s t h e s t a r t of t h e l e s s o n Sapientiae . . . Qui laudem timet Deum regis glorie composed; f a r s i n g v e r s e s Ad lesson

for St J o h n the E v a n g e l i s t w i t h the strongly with the regular,

u n i q u e to t h i s m a n u s c r i p t . T h e m e l o d y of t h e its p r o s e contrasts

is l a r g e l y f r e e l y

r h y m i n g , farsing verses. M o s t of t h e i n c o m p l e t e c o l l e c t i o n of a l l e l u i a s f o u n d i n N a p l e s V I . G . 34 w a s n o t k n o w n in Benevento, natura, Exultemus a n d the sequences i n c l u d e some n e w r h y m e d c o m p o s i t i o n s , non saints die, a n d so o n . T h e s e q u e n c e f o r T r o i a ' s p a t r o n t y p i c a l of n o r t h F r a n c e , p a r t i c u l a r l y P a r i s , i n t h e l a t e r t w e l f t h c e n t u r y : Potestate in hac

P o n t i a n u s a n d A n a s t a s i u s is u n f o r t u n a t e l y i n c o m p l e t e , so t h a t a n e x a m p l e of l o c a l c o m p o s i t i o n is s p o i l e d f o r u s . St S e c u n d i n u s has h i s n a m e i n s e r t e d i n a c o m m o n sequence b o r r o w e d p r o b a b l y f r o m N o r m a n use. T h e t y p e of m a n u s c r i p t itself is n o t o n e w e n o r m a l l y a s s o c i a t e w i t h Benevento, The w h e r e o r d i n a r y - o f - m a s s c h a n t s , t r o p e s f o r t h e p r o p e r of m a s s , a n d s e q u e n c e s w e r e u s u a l l y e n t e r e d i n p l a c e w i t h i n e a c h m a s s , as is o f t e n t h e case i n I t a l i a n s o u r c e s . n e a r e s t to it is V a t i c a n U r b . l a t . 6 0 2 , w h i c h , h o w e v e r , s e e m s t o h a v e h a d n o s e q u e n c e s o r f a r s e d l e s s o n s . T o s u m u p , N a p l e s V I . G . 34 is a m a n u s c r i p t w h e r e t h e t y p e of notation, traditional Beneventan, g i v e s n o c l u e to t h e o r i g i n of t h e c h a n t s , which r a n g e f r o m O l d B e n e v e n t a n t h r o u g h N o r m a n a n d b e y o n d . T h e s t u d y of o v e r l a p p i n g p a l a e o g r a p h i c a l a n d r e p e r t o r i a l t r a d i t i o n s i n m a n u s c r i p t s l i k e t h i s is o n e of t h e m o s t f a s c i n a t i n g areas of c h a n t research.

Ex. IX.8.2.

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XI.9.

R O M E

A N D T H E F R A N C I S C A N S A b a t e 1960; van D i j k and W a l k e r 1960; van D i j k 1961,

H u s c h e n , ' F r a n z i s k a n e r ' , MGG; 1963, Sources;

S a l m o n 1967; Hesbert 1980, ' C u r i e ' .

I h a v e a d o p t e d t h e v i e w a b o v e (see V I I I . 8 ) t h a t O l d R o m a n c h a n t w a s t h e o n l y c h a n t s u n g i n R o m e u n t i l a b o u t t h e e l e v e n t h c e n t u r y , a n d t h a t w h e n w e m e e t it i n its e a r l i e s t n o t a t e d f o r m i n 1071 ( t h e d a t e of m a n u s c r i p t B o d m e r C . 74) it is a s o m e w h a t descendent altered

r

of t h e c h a n t w h i c h t h e F r a n k s l e a r n e d f r o m R o m a n c a n t o r s . W e d o n o t

k n o w h o w o f t e n n o n - R o m a n s n o t i c e d d i f f e r e n c e s f r o m t h e c h a n t of t h e F r a n k s . W e m a y a s s u m e t h o u g h w e h a v e n o r e c o r d of i t t h a t t h e first f o r e i g n p o p e s , i n s t a l l e d w h e n t h e E m p e r o r O t t o I I I w a s t r y i n g to r e f o r m t h e p a p a c y , w o u l d h a v e b e e n a w a r e of t h e c o n t r a s t : the G e r m a n G r e g o r y V ( 9 9 6 - 9 ) , a n d the F r e n c h m a n Gerbert of A u r i l l a c , S y l v e s t e r I I ( 9 9 9 - 1 0 0 3 ) . H o w e v e r , as a l r e a d y m e n t i o n e d ( I X . 8 ) , it i s i n t h e w a k e o f t h e s e r i e s o f G e r m a n p o p e s i n t h e m i d - e l e v e n t h c e n t u r y t h a t w e find S t e p h e n I X o b j e c t i n g t o ' c a n t u s A m b r o s i a n u s ' at M o n t e c a s s i n o . T h a t i s , of c o u r s e , n o t O l d R o m a n c h a n t ; t h e p o i n t i s , it is n o t G r e g o r i a n e i t h e r , a n d G r e g o r i a n c h a n t is w h a t w a s s u n g t h e r e a f t e r at M o n t e c a s s i n o . A n d it m a y be s i g n i f i c a n t t h a t t h e e a r l i e s t s u r v i v i n g O l d R o m a n c h a n t - b o o k dates f r o m a time w h e n the O l d R o m a n r e p e r t o r y m a y have b e e n c o m i n g u n d e r p r e s s u r e , w h e n it m a y h a v e b e e n felt n e c e s s a r y t o t a k e s t e p s f o r i t s preservation. T h e t y p e of p o n t i f i c a l c o d i f i e d at M a i n z i n t h e m i d - t e n t h c e n t u r y , t h e s o - c a l l e d ' R o m a n - G e r m a n ' p o n t i f i c a l , w a s b e i n g u s e d i n R o m e s h o r t l y t h e r e a f t e r , b r o u g h t , it is thought, by Emperor Otto I o n o n e of h i s m a n y v i s i t s . T h i s c o p i o u s a n d w e l l o r g a n i z e d c o l l e c t i o n o f p o n t i f i c a l c e r e m o n i e s is a d i f f e r e n t m a t t e r f r o m a g r a d u a l o r a n t i p h o n e r , o f c o u r s e . B u t i t is i n d i c a t i v e of t h e w a y a n o n - R o m a n d o c u m e n t c o u l d alter Roman III liturgical practice. (1198-1216) 102-4). O n the other h a n d , the pontifical c o m p i l e d for Innocent still i n c l u d e s three O l d R o m a n a n t i p h o n s ( H u g l o 1954,

'Vieux-romain',

G r e g o r i a n c h a n t c o u l d a l s o h a v e b e e n s u n g c l o s e at h a n d to t h e p a p a l c h a p e l f r o m t h e t i m e w h e n A l e x a n d e r I I ( 1 0 6 1 - 7 3 ) , a f o r m e r c a n o n of S t F r i d i a n ' s at L u c c a , reformed the monastery chapel of St Lawrence). attached to the L a t e r a n , whose p e r s o n n e l p e r f o r m e d the Lateran services i n the L a t e r a n basilica (the pope a n d his chaplains celebrated i n the adjacent T h e r e f o r m w a s c o n f i r m e d i n 1105 w h e n t h e C o n g r e g a t i o n o f C a n o n s R e g u l a r w a s f o u n d e d as a d e s c e n d a n t of S t F r i d i a n ' s ( v a n

D i j k 1 9 6 1 , 4 2 4 ) . T h e o r d i n a l o f t h e c a n o n s as c o d i f i e d i n t h e m i d - t w e l f t h c e n t u r y i s k n o w n ( e d . L u d w i g F i s c h e r 1 9 1 6 ) , b u t it c o n t a i n s n o c h a n t . ( S e e G y 1 9 8 4 . ) T h e first c l e a r e v i d e n c e t h a t m a s s a n d o f f i c e w e r e p e r f o r m e d w i t h G r e g o r i a n c h a n t i n t h e p a p a l c h a p e l c o m e s f r o m t h e t h i r t e e n t h c e n t u r y , w h e n a s e r i e s of r e v i s i o n s brought all liturgical practice i n R o m a n churches, papal or civic, into h a r m o n y , w i t h w h i c h the F r a n c i s c a n o r d e r of friars c o n c o r d e d . O f I n n o c e n t I l l ' s r e v i s i o n of mass a n d office of the p a p a l chapel i n 1 2 1 3 - 1 6 o n l y the o r d i n a l survives (ed. v a n D i j k a n d

Walker

1975). H o n o r i u s III

(1216-27) made another

r e v i s i o n of t h e b r e v i a r y f o r

o u t s i d e use, w h i c h t h e F r a n c i s c a n s a d o p t e d i n 1230.

T h e y adopted a revised missal at t h e r e q u e s t of

s h o r t l y a f t e r w a r d s . B o t h b r e v i a r y a n d m i s s a l w e r e r e v i s e d b y H a y m o of F a v e r s h a m , G e n e r a l of the F r a n c i s c a n O r d e r f r o m 1240 u n t i l h i s d e a t h i n 1244, Innocent appear Cajetan I V ( 1 2 4 3 - 5 4 ) ( e d . v a n D i j k 1963, into line somewhat Sources). F r o m this point papal and 1250s C a r d i n a l J o h n use of t h e Vatican (1277 1960).

F r a n c i s c a n use w e r e to a l l i n t e n t s a n d p u r p o s e s t h e s a m e . T h e R o m a n c i t y c h u r c h e s to h a v e c o m e g r a d u a l l y . I n the Orsini devised a compromise l i t u r g y to c o m b i n e the

( u r b a n ) a n d the L a t e r a n palace ( p a p a l ) , b u t o n b e c o m i n g P o p e N i c h o l a s I I I 80) he o r d e r e d t h e d e s t r u c t i o n of a l l n o n - c o n f o r m i n g b o o k s ( v a n D i j k 1 9 5 6 ,

W e can therefore tell what chant was s u n g i n the p a p a l c h a p e l b y i n s p e c t i n g notated F r a n c i s c a n books (papal ones do not s u r v i v e ) . T h e n o t e d m i s s a l N a p l e s , B i b l i o t e c a N a z i o n a l e V I . G . 38 ( f a c s . A r n e s e 1967, p i . X V I , P a l M u s 2, p i . 30) h a s t h e l i t u r g y of H o n o r i u s I l l ' s r e v i s i o n (van D i j k 1 9 6 9 - 7 0 ) . T h e earliest b o o k s have c e n t r a l Italian n o t a t i o n ( N a p l e s V I . G . 3 8 ; see also H i i s c h e n , ' F r a n z i s k a n e r ' , MGG; s q u a r e n o t a t i o n s h o u l d b e u s e d ( e d . v a n D i j k 1963, Sources, and A^Giii. 269 110), f o r a b r e v i a r y of 1 2 2 4 ) . T h e p r e f a c e to t h e g r a d u a l o f t h e 1250s s p e c i f i c a l l y s t a t e s t h a t i i . 3 5 9 ; see a l s o i . w h i c h b y that t i m e was r a p i d l y b e c o m i n g u n i v e r s a l l y p o p u l a r . T h e S o l e s m e s s u r v e y of v a r i a n t r e a d i n g s o n p r o p e r - o f - m a s s c h a n t s p l a c e s N a p l e s V I . G . 38 w i t h o t h e r F r a n c i s c a n b o o k s i n a g r o u p s h o w i n g n o s t r o n g r e s e m b l a n c e any other. that, H e s b e r t ' s i n v e s t i g a t i o n of t h e r e s p o n s o r y s e r i e s ( 1 9 8 0 , ' C u r i e ' ) o n c e e v i d e n t i n n o v a t i o n s h a v e b e e n set a s i d e , a n a f f i n i t y w i t h o t h e r to showed central

I t a l i a n uses b e c a m e c l e a r P e r u g i a , C a r i n o l a , F l o r e n c e , a n d P i a c e n z a . P o s s i b l y s o m e s u c h p r o c e s s l e d to t h e e s t a b l i s h m e n t of t h e m u s i c a l r e a d i n g s . T h e g r a d u a l appears to have been a d o p t e d b y the C e l e s t i n e s , b y the m o n k s of S o l e s m e s . Roman-Franciscan Benedictine investigated f o l l o w the t h e o r d e r of

m o n k s f o u n d e d b y C e l e s t i n e V i n 1250, to j u d g e f r o m t h e s i n g l e s o u r c e O n the other h a n d , C e l e s t i n e o f f i c e - b o o k s

M o n t e c a s s i n o o r d e r of s e r v i c e . T h e O l i v e t a n s , f o u n d e d i n 1319 b y G i o v a n n i T o l o m e i o n M o n t e O l i v e t o near S i e n a , adapted the R o m a n - F r a n c i s c a n b r e v i a r y for m o n a s t i c u s e . T h e s a m e h a p p e n e d i n m o n a s t e r i e s d e s c e n d e d f r o m t h e r e f o r m at S a n t a G i u s t i n a i n P a d u a i n the early whence the fifteenth century. Subiaco was r e f o r m e d f r o m Santa G i u s t i n a , Danube, to other use in a revised monastic f o r m spread a n d G e r m a n m o n k s t o o k t h e r e f o r m to t h e n e w l y f o u n d e d M e l k o n t h e Roman-Franciscan Austrian and south G e r m a n 1971, Tonaires, monasteries. The (or

T o n a r i e s s u r v i v e w h i c h were c o m p o s e d b y t w o clerics attached to the c u r i a ( H u g l o 2 2 5 - 9 ) , t h o u g h n e i t h e r has t h e s t a t u s of a n o f f i c i a l d o c u m e n t . art is musicae w r i t t e n i n 1271 b y the E n g l i s h priest A l f r e d of C a r d i n a l O t t o b o n o F i e s c h i ( t h e t r e a t i s e Practica

A l u r e d u s or A m e r u s ) , i n the entourage

future

H a d r i a n V ) contains t w o tonaries, one c o m p i l e d a c c o r d i n g to F r e n c h a n d E n g l i s h use, the other a c c o r d i n g to R o m a n (ed. R u i n i i n C S M 25). B y contrast, E l i a s Doctrina scientiae musicae reflect its usage. C h u r c h e s o u t s i d e R o m e d i d not stand u n d e r any o b l i g a t i o n to a d o p t the RomanSalomon's of 1274 ( G S i i i ) , t h o u g h c o m p i l e d at t h e c u r i a , d o e s n o t

F r a n c i s c a n r e f o r m s . E v e n t h e L a t e r a n b a s i l i c a c e l e b r a t e d i t s o w n f o r m of t h e o f f i c e u n t i l t h e late f o u r t e e n t h century. T h e a t t i t u d e o f S t F r a n c i s a n d t h e F r a n c i s c a n s t o l i t u r g i c a l m u s i c is d i s c u s s e d b y D ' A n g e r s ( 1 9 7 5 ) a n d also b y H i i s c h e n ( M G G ) . T h e r h y m e d o f f i c e o f S t F r a n c i s w a s edited b y Felder (1901).

I X . 10.

A Q U I T A I N E

A N D S A I N T - M A R T I A L

A T

L I M O G E S

P a l M u s 13; M M M A 3 ; C r o c k e r 1957, 1958; C h a i l l e y 1957, 1960, Ecole; E m e r s o n 1962, 1965; H e r z o 1967; T r e i t l e r 1967; Steiner 1969; Paul Evans 1970, Repertory, 1970, ' E l e m e n t s ' ; Brockett 1972; Roederer 1974; Planchart 1977; Planchart a n d F u l l e r , 'St M a r t i a l ' NG. A n u m b e r of i m p o r t a n t chant m a n u s c r i p t s have s u r v i v e d f r o m south-west that is r o u g h l y s o u t h o f t h e L o i r e a n d as f a r east as t h e S a o n e - R h o n e more or less to the Aquitaine, Gascony, and empire a n d generally k n o w n for convenience corresponding Charlemagne's France, valley, of

Septimania

as ' A q u i t a i n e ' . T h e

m a n u s c r i p t s are u s u a l l y i m m e d i a t e l y r e c o g n i z a b l e b y t h e i r d i s t i n c t i v e n o t a t i o n , o n e of the earliest w h o s e p i t c h e s c a n be read accurately. T h e y have attracted a great deal of attention, repertories p a r t l y b e c a u s e of t h e i r l e g i b i l i t y , b u t a l s o b e c a u s e t h e y of tropes a n d sequences, a n d b e c a u s e a late s u b - g r o u p contain among large them

c o n t a i n s n u m b e r s of t h e r h y t h m i c , r h y m i n g songs of the t w e l f t h c e n t u r y , s o m e i n p o l y p h o n y . A g o o d n u m b e r of t h e m p a s s e d t h r o u g h t h e h a n d s o f t h e l i b r a r i a n o f t h e a b b e y o f S a i n t - M a r t i a l at L i m o g e s , B e r n a r d I t i e r , i n t h e y e a r s a r o u n d 1 2 0 0 , a n d t h e label ' S a i n t - M a r t i a l ' has s o m e t i m e s more possibly for other churches b e e n a p p l i e d t o m o r e o r less t h e w h o l e g r o u p . in Limoges, w h i l e the m a j o r i t y are n o t f r o m O n l y a h a n d f u l c a n be s h o w n definitely to have b e e n w r i t t e n f o r S a i n t - M a r t i a l , a f e w L i m o g e s . T h e p r o v e n a n c e o f s e v e r a l is u n f o r t u n a t e l y n o t at a l l c l e a r . W h i l e t h e s o u r c e s d o i n d e e d s h a r e c o m m o n t r a d i t i o n s , to a g r e a t e r o r lesser e x t e n t , they are n a t u r a l l y f o r t u i t o u s s u r v i v a l s , w h i c h leave some a w k w a r d gaps in our k n o w l e d g e . T h e earliest i m p o r t a n t l i t u r g i c a l source, the u n n o t a t e d c o m b i n e d g r a d u a l a n d a n t i p h o n e r A l b i , B i b l i o t h e q u e M u n i c i p a l e 44, dates f r o m the s e c o n d half of the n i n t h c e n t u r y . B u t t h e n t h e r e is a c o m p l e t e g a p f o r b o t h t y p e s of b o o k f o r o v e r a c e n t u r y . T h e e a r l i e s t c o l l e c t i o n of t r o p e s a n d s e q u e n c e s is d a t e d a r o u n d 9 3 0 , f o l l o w e d b y t w o p a r t i c u l a r l y large a n d i m p o r t a n t c o l l e c t i o n s of a s i m i l a r n a t u r e f r o m the c l o s i n g decades of the c e n t u r y . W e have n o notated g r a d u a l s u n t i l w e l l i n t o t h e next c e n t u r y , and no complete notated office-book until the fourteenth century. (A possible e x c e p t i o n is t h e t w e l f t h - c e n t u r y a n t i p h o n e r T o l e d o , A r c h i v o C a p i t u l a r 4 4 . 2. Its

n o t a t i o n is A q u i t a n i a n a n d i t is u s u a l l y s a i d to c o m e f r o m A q u i t a i n e , b u t i t s c l o s e s t 'relatives' i n Hesbert's s u r v e y C A O 5 a r e all Spanish.) T h e p r i n c i p a l m a n u s c r i p t s , i n r o u g h l y c h r o n o l o g i c a l o r d e r u p to about 1 2 0 0 , are l i s t e d i n T a b l e I X . 1 0 . 1 . It goes w i t h o u t s a y i n g t h a t t h e l a b e l ' t r o p e r ' c o v e r s a g r e a t

T a b l e I X . 10.1. Aqiritanian Manuscript A l b i 44 Paris 1240 P a n s 1084 Paris Paris Pans Paris 1118 1085 1120 1121 Type

sources to c.1200 Provenance Date 9th c , second half Saint-Martial

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gradual-antiphoner troper ( p o s t ) troper (p s t) troper (p s t) antiphoner troper (p o s f) troper (p s f t) troper (p o s) sequentiary (s) troper (p s f t) troper (p s) sequentiary (o s f) gradual (p o s f) sequentiary (o s f) sequentiary (o s f) sequentiary (o s f) gradual (f) gradual (f t) gradual (o s f) sequentiary (o troper (p o) troper (p o s) sequentiary (o gradual (f t) song-book song-book song-hook sequentiary (o sequentiary (o s f)

Auch ? Saint-Martial Saint-Martial ? Saint-Martial Limoges Saint-Martial Saint-Martial Limoges Saint-Yrieix Limoges Limoges Limoges Toulouse G a i l l a c near A l b i Saint-Martial Saint-Martial Limoges? p p Narbonne p p p s) s) Narbonne Saint-Leonard, Noblat

c.930 late 10th c. late 10th c. late 10th c. r.1000 <\1000 early 11th c. early 11th c. early 11th c. r.1030 c.1030 11th c , first half m i d - l l t h c. m i d - 1 1 t h c. m i d - l l t h c. m i d - l l t h c. late 11th c. late 11th c. late 11th c. late 11th c. late 11th c. late 11th c. late 11th c. early 12th c. 12th c. 12th c. late 12th c. late 12th c.

P a n s 887 P a n s 1138-1338 P a r i s 909 P a n s 1119 P a n s 1137 P a n s 903 P a n s 1133 P a n s 1135 P a n s 1136 L o n d o n 4951 Paris 776 P a r i s 1132 P a n s 1134 P a r i s 779 Pans Pans Paris Paris Paris Paris Pans Pans 1871 1177 780 1139 3549 3719 778 1086

s f)

p = tropes for proper of-mass chants o = ordinary-of-mass chants s = sequences f = offertory verses t = tonarv

v a r i e t y of c o n t e n t s , a n d I h a v e u s e d i t h e r e b a s i c a l l y to s e p a r a t e b o o k s w i t h o u t t h e f u l l r a n g e of m a s s - p r o p e r c h a n t s f r o m g r a d u a l s . ' S e q u e n t i a r y ' m e a n s t h a t t h e b o o k d o e s n o t c o n t a i n t r o p e s f o r p r o p e r - o f - m a s s c h a n t s . T w o o t h e r i m p o r t a n t sets o f c h a n t s f r e q u e n t l y f o u n d are o r d i n a r y - o f - m a s s c h a n t s a n d o f f e r t o r y v e r s e s . m a n u s c r i p t s c o n t a i n t o n a r i e s ( s t u d i e d b y H u g l o 1 9 7 1 , Tonaires). S e v e r a l of t h e B u t m a n y of t h e m

contain m u c h more besides: special offices, and so on.

tracts, (For

alleluias, g r a d u a l verses, summaries of the Graduel

processional of most of

chants, these

contents

m a n u s c r i p t s , see E m e r s o n , ' S o u r c e s , M S , I F , NG;

romain

I I ; R I S M B/V/

1.) T h e l a t e r b o o k s w i t h r h y m e d v e r s u s a n d B e n e d i c a m u s s o n g s I h a v e s i m p l y c a l l e d s o n g - b o o k s . T h e d a t i n g of m a n y s o u r c e s is also o n l y a p p r o x i m a t e ; i n m a n y cases the m a n u s c r i p t s are c o m p o s i t e , c o n t a i n i n g s e c t i o n s of d i f f e r e n t s o r t s w r i t t e n at d i f f e r e n t periods, b r o u g h t together for convenience reason. T w o m a n u s c r i p t s n o w i n the c h a p t e r l i b r a r y of t h e c a t h e d r a l at A p t are also u s u a l l y considered in conjunction with the A q u i t a n i a n sources. Apt 17 is written in A q u i t a n i a n n o t a t i o n , w h i l e A p t 18 r a r e l y uses it a n d m o s t l y e m p l o y s F r e n c h n o t a t i o n . ( T h i s is n o t i n i t s e l f s u r p r i s i n g , f o r F r e n c h n o t a t i o n w a s u s e d e v e n o v e r t h e A l p s at L a N o v a l e s a . ) T h e p r o v e n a n c e of A p t 18, the e a r l i e r of t h e t w o , f r o m c . l O O O , is u n c l e a r , w h i l e A p t 17, of t h e m i d e l e v e n t h c e n t u r y , is f r o m A p t i t s e l f . ( S e e B j o r k v a l l i n C T Benedict of Aniane (r.750-821), the great monastic reformer and 5.) liturgical at b i n d i n g m o r e t h a n f o r a n y musical

o r g a n i z e r of L o u i s t h e P i o u s ' s r e i g n , c a m e of a n A q u i t a n i a n f a m i l y a n d as e a r l y as 7 7 9 established i n his h o m e l a n d a monastery whose practice was w i d e l y i m i t a t e d . ( L a t e i n h i s l i f e he h a d t h e m o n a s t e r y of I n d e , o r C o r n e l i m u n s t e r , n e a r A a c h e n , b u i l t f o r h i m b y L o u i s , w h i c h w a s s u p p o s e d to be a m o d e l f o r o t h e r h o u s e s . ) B u t it s e e m s u n l i k e l y that the later A q u i t a n i a n c h a n t - b o o k s c o n t a i n a n y t h i n g that c a n b e i d e n t i f i e d as of s p r i n g i n g d i r e c t l y f r o m his w o r k i n that r e g i o n . O n the other h a n d , a n u m b e r 903 (see VIII.6).

s u r v i v a l s of G a l l i c a n c h a n t h a v e b e e n t r a c e d , e s p e c i a l l y i n t h e g r a d u a l s P a r i s 7 7 6 a n d It i s , h o w e v e r , f o r t h e i r r e p e r t o r i e s of s e q u e n c e s a n d t r o p e s t h a t t h e m a j o r i t y of t h e m a n u s c r i p t s are c h i e f l y p r i z e d . T h e l i t e r a t u r e o n t h e i r t r o p e s is b y n o w p a r t i c u l a r l y e x t e n s i v e , a n d o n l y a f e w p o i n t s n e e d be m a d e h e r e . A l t h o u g h b y r e p e r t o r y t h e t r o p e c o l l e c t i o n s are r e l a t e d c l o s e l y to o n e a n o t h e r , t h e y are b y n o m e a n s u n i f o r m , a n d t h e i n t e r p l a y of t r a d i t i o n s a n d r e c a s t i n g of m a t e r i a l is e v i d e n t to a c o n s i d e r a b l e a c r o s s E u r o p e , of c o u r s e , a n d o f t e n t h e A q u i t a n i a n s o u r c e s s t a n d t o g e t h e r f o u n d m a n y instances degree. against 17. T h i s s o r t of v a r i a t i o n b e t w e e n s o u r c e s c h a r a c t e r i z e s t h e t r a n s m i s s i o n of t r o p e s r i g h t o t h e r s . B u t w i t h i n A q u i t a i n e the v a r i a t i o n s are o f t e n g r e a t . I n W e i s s ' s e d i t i o n w i l l be of s t r o n g l y v a r i a n t m e l o d i e s , p a r t i c u l a r l y i n v o l v i n g A p t P l a n c h a r t a n d o t h e r s h a v e p o i n t e d o u t t h a t the earliest t r o p e r , P a r i s 1240, o f t e n s h a r e s variants w i t h n o r t h F r e n c h m a n u s c r i p t s , rather t h a n w i t h later A q u i t a n i a n sources. I n t h e s e cases it m a y represent an i m p o r t e d early t r a d i t i o n that was subsequently 'Observations'; r e w o r k e d b y A q u i t a n i a n m u s i c i a n s . ( T h e r e are o u t l i n e s of t h e r e l a t i o n s h i p s b e t w e e n s o u r c e s i n W e i s s 1964, ' P r o b l e m ' , D a v i d H u g h e s 1966, H i l e y 1983, the easiest w a y to see t h e v a r i e d s e l e c t i o n a n d a r r a n g e m e n t of t r o p e v e r s e s is t h r o u g h t h e v o l u m e s of C T a n d e s p e c i a l l y P l a n c h a r t 1 9 7 7 ; The sequences, too, are C r o c k e r 1957, f o r f u r t h e r l i t e r a t u r e see 1 1 . 2 3 . ) by The between found in many and varied traditions (inventories

m a n y e d i t i o n s i n C r o c k e r 1 9 7 7 ) . T h e r e is a s t r i k i n g c o n t r a s t

the m o d e r a t e c o l l e c t i o n i n P a r i s 1240 a n d t h e vast s e r i e s i n P a r i s 1084 a n d 1 1 1 8 .

l a t e r s o u r c e s o p t f o r sizes i n b e t w e e n t h o s e e x t r e m e s . I n P a r i s 1086 a n d 7 7 8 , a n d i n a n

a d d e d s e c t i o n of P a r i s 1139,

the new sequences w i t h regular r h y t h m a n d r h y m e ,

a s s o c i a t e d w i t h A d a m of S a i n t - V i c t o r i n P a r i s , e n t e r t h e r e p e r t o r y ( H u s m a n n 1 9 6 4 ) . T w o h i s t o r i c a l e v e n t s i m p i n g e d u p o n t h e m o n a s t e r y of S a i n t - M a r t i a l a n d l e f t t r a c e s i n its m u s i c a l m a n u s c r i p t s . I n t h e 1031 the Council of Limoges 1020s a m o v e m e n t w a s set a f o o t , apostolicity authentic, whose although chief In the to a p o l o g i s t w a s A d h e m a r of C h a b a n n e s , to g a i n f o r M a r t i a l t h e r a n k of a p o s t l e .

declared the

d e c i s i o n h a d l i t t l e e f f e c t e l s e w h e r e ( e x c e p t p o s s i b l y to s t i m u l a t e o t h e r c h u r c h e s w i t h t h e i n t r o i t Probavit, t h e i n t r o i t Statuit

p r o m o t e t h e c a u s e of t h e i r o w n s a i n t s ) . B u t at S a i n t - M a r t i a l a n e w m a s s ( b e g i n n i n g r e p l a c i n g c h a n t s f r o m t h e c o m m o n of s a i n t s b e g i n n i n g w i t h ei) a n d a s p e c i a l o f f i c e w e r e c o m p o s e d . O t h e r s a i n t s a s s o c i a t e d w i t h

M a r t i a l a n d w i t h L i m o g e s , A u s t r i c l i n i a n u s a n d V a l e r i a , h a d o f f i c e s c o m p o s e d at t h e s a m e t i m e ( E m e r s o n 1 9 6 5 ) . It is l i k e l y t h a t A d h e m a r c o m p o s e d t h e m a l l . T h e p r i m e s o u r c e f o r t h e s e is t h e m a n u s c r i p t P a r i s 9 0 9 , w h o s e p h y s i c a l m a k e - u p w a s e x t e n s i v e l y r e a r r a n g e d to take i n t h e n e w m a t e r i a l . E x . I X . 10.1 s h o w s t h e last of t h e r e s p o n s o r i e s of t h e N i g h t O f f i c e f r o m t h e o f f i c e of S t M a r t i a l . It has t w o v e r s e s , r a t h e r t h a n t h e u s u a l o n e , b o t h of w h i c h , w i t h t h e G l o r i a , h a v e t h e s a m e m e l o d y . T w o n e w m e l i s m a s , b o t h w i t h f o r m A A B B C , are p r o v i d e d at t h e e n d , to r e p l a c e t h e m u s i c f o r ' o m n i u m ' w h e n t h e last p a r t of t h e r e s p o n s o r y is r e p e a t e d after t h e v e r s e s . T h e p r o b a b l e o r d e r of performance w o u l d then have b e e n : Respond V I , repetenda w i t h melisma 1 V 2 , repetenda w i t h melisma 2 Gloria, repetenda Responsory O sancte Dei apostole (Paris, B i b l . N a t . lat. 909, fo. 68 )
r

Ex. IX.10.1.

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I n 1 0 6 2 S a i n t M a r t i a l w a s r e f o r m e d f r o m C l u n y . T h e c h a n g e c a n be s e e n i n t h e o r d e r of c h a n t s , f o r e x a m p l e t h e p o s t - P e n t e c o s t a l l e l u i a s e r i e s i n P a r i s 1 1 3 2 a n d 1 1 3 4 . T a b l e I X . 1 0 . 2 sets o u t t h r e e d i f f e r e n t series t o be f o u n d i n L i m o g e s b o o k s : (a) t h a t of t h e c a t h e d r a l of S t S t e p h e n , (b) S a i n t - M a r t i a l b e f o r e t h e C l u n i a c r e f o r m , (c) the C l u n i a c s e r i e s . T h e C l u n i a c series of A d v e n t r e s p o n s o r i e s a p p e a r s i n s e v e r a l L i m o g e s books f r o m the same time o n w a r d , i n c l u d i n g the fourteenth-century noted breviaries P a r i s 783 a n d 7 8 5 .

11.

The Hispanic alleluia

Peninsula series in Limoges Cluniac Saint-Martial

T a b i c I X . 10.2. Post-Pentecost L i m o g e s cathedral

Saint-Martial before 1062 Paris 909* 7: 12 20 46 70

Paris 9438 7: 12 17 20 30 46 64 77 80 87 89 92 94: 1 94: 3

Paris 1137 7: 12 17 20 30 46 64 77 80 87 89 94: 1 94: 3 99 104 107

P a n s 1132 7: 12 17 20 30 46 64 77 80 87 89 94: 1 94: 3

P a n s 1134 7: 12 17 20 30 46 64 77 80 87 89 94: 1 94: 3

77 80 87 89 94: 1 94: 3 97 104 107 112 113: 1 1 1 3 B : 11

104 107 110

104 107 110

104 107

113: 1 113B: 11 117 121 129 137: 1 146 147: 14 1 1 3 B : 11 117 121 129 137: 1 145 146 147: 14

113: 1 113B: 11 116: 1 1 1 3 B : 11 116: 1

124 129 137: 1 145 146 147: 12 147: 14

129 137: 1 145 146 147: 12 147: 14

129 137: 1 145 146 147: 12 147: 14

Highest n u m b e r of concordances (among these five sources): P a n s 1137 P a n s 9438 Paris 1134 P a n s 1134 Paris 1132 (21) (21) (19) (22) (22)
Paris 1121 has the same series as Paris 909, but there is a lacuna after 104.

Sole to Table IX. verses 7: 12 17 20 30 46 64 70 77 80 87 89 92 94: 94: 97 99

10.2:

T h e alleluias are designated by the psalm from which their verse is taken. Where other from the psalm were used for medieval alleluias, the one used here is stated. Deus iudex iustus 104 Confitemini domino et invocate Diligam te domine 107 Paratum cor meum Domine in virtute tua 110 Redemptionem misit 112 In te domine speravi . . . accelera Laudate pucri Onines gentes T e decet hymnus In te domine speravi . . . eripe me Attendite popule meus Exultate Deo D o m i n e Deus salutis nice Domine refugium D o m i n u s regnavit decoreni 1 Venite exultemus 3 Quoniam Deus magnus dominus Cantate domino lubilate Deo In exitu Israel 1 113B : 11 Q u i timcnt dominum 116: 1 Laudate dominum omnes gentes 117 Dextera Dei 121 Letatus sum 124 Q u i confidunt 129 Dc profundis 137: 145 146 147: 147: 1 Confitebor tibi Lauda anima mea dominum Q u i sanat Lauda Iherusalem d o m i n u m Qui posuit 113:

12 14

X I . 11.

T H E H I S P A N I C

P E N I N S U L A

A F T E R

T H E

R E C O N Q U E S T Sablayrolles 1 9 1 1 - 1 2 ; Angles 1922, 1990. 1931, 1935, 1938, 1970; C o r b i n 1952, Musigue;

D o n o v a n 1958; F e r n a n d e z de la Cuesta 1980, 1985; H u g l o 1985, ' P e n e t r a t i o n ' ; C a s t r o

Whatever

the

importance

of the

C l u n i a c m o n k s i n the 'reconquest' (see

of S p a i n

for

C h r i s t i a n i t y i n t h e l a t t e r p a r t of t h e e l e v e n t h c e n t u r y e v i d e n c e of t h e i r l i t u r g i c a l c h a n t negative features such as the f a i l u r e of the Quern

V I 1 1 . 7 ) , little tangible and Easter dramatic c h . 6). Spain

has so far b e e n i d e n t i f i e d i n S p a i n , u n l e s s it be queritis

c e r e m o n i e s to take r o o t i n the w e s t e r n h a l f of the p e n i n s u l a ( D o n o v a n 1958, S t u d i e s so far a c c o m p l i s h e d s h o w that t h e G r e g o r i a n c h a n t - b o o k s n o t a t i o n is f o u n d i n S p a n i s h b o o k s of t h i s t i m e ( f o r e x a m p l e , of n o r t h

d e p e n d h e a v i l y , as w e s h o u l d e x p e c t , o n A q u i t a n i a n t r a d i t i o n s , j u s t as A q u i t a n i a n Paris, Bibliotheque N a t i o n a l e , l a t . 7 4 2 is a n a n t i p h o n e r of c . 1 2 0 0 f r o m R i p o l l w i t h A q u i t a n i a n n o t a t i o n : R i p o l l w a s r e f o r m e d f r o m S a i n t - V i c t o i r e at M a r s e i l l e ; see L e m a r i e 1 9 6 5 ) . T h e c l o s e s t 'relatives' of the following books, as detailed in Graduel rornain IV, are all San A q u i t a n i a n : M a d r i d , A c a d e m i a d e la H i s t o r i a 18 a n d 45 ( b o t h g r a d u a l s f r o m twelfth century), Toledo, A r c h i v o C a p i t u l a r 35. 10 ( g r a d u a l , T o l e d o , 5-6)

M i l l a n d e l a C o g o l l a , e a r l y 1 2 t h c ) , M a d r i d , P a l a c i o 429 ( n o t e d m i s s a l , C a s t i l i a n , late thirteenth c e n t u r y ) . H e s b e r t ' s s u r v e y of r e s p o n s o r y series (CAO f o u n d the C l u n i a c order i n eleventh-century 30850 (facs. in

b o o k s f r o m M o i s s a c , w h i c h w a s a n i m p o r t a n t s o u r c e of i n f l u e n c e u p o n S p a i n , a n d also i n a t w e l f t h - c e n t u r y a n t i p h o n e r f r o m S a n t o D o m i n g o de S i l o s . T h e Silos manuscripts London, British Library, A d d . 30848 and

Antiphonale

Silense,

text e d . b y H e s b e r t

i n (AO

2, b y contrast,

share an

order

u n k n o w n e l s e w h e r e (the l a t t e r , l i k e m a n y o t h e r b o o k s , i n c l u d e s s o m e s u r v i v a l s of t h e O l d S p a n i s h r i t e ) . If t h e s o u r c e s n o w i n T o l e d o w e r e u s e d t h e r e , t h e n t h e y r e f l e c t a v a r i e t y of i m p o r t e d u s e s . T h e i m p o r t a n t t w e l f t h - c e n t u r y a n t i p h o n e r T o l e d o , A r c h i v o C a p i t u l a r 4 4 . 2 , as a l r e a d y m e n t i o n e d , m a y be A q u i t a n i a n , t h o u g h a l l r e l a t e d are Spanish; the thirteenth-century antiphoner Toledo 44.3 sources the is C a r t h u s i a n ;

t w e l f t h - c e n t u r y b r e v i a r y T o l e d o 4 8 . 1 4 is C a m a l d o l e s e . M u c h w o r k r e m a i n s t o b e d o n e o n t h e m u s i c a l t r a d i t i o n s of t h e s e s o u r c e s . A number of important manuscripts containing tropes and sequences have s u r v i v e d , w h i c h , w h i l e displaying obvious contacts w i t h south F r e n c h traditions, have n u m e r o u s i n d i v i d u a l c o n t r i b u t i o n s to t h e r e p e r t o r y . A m o n g t h e m o s t i m p o r t a n t are t h e V i c h t r o p e r s , V i c h , M u s e o E p i s c o p a l 105 ( e l e v e n t h to t w e l f t h c e n t u r y ) a n d 106 ( t w e l f t h to t h i r t e e n t h c e n t u r y ) , a n d the t w e l f t h - c e n t u r y H u e s c a t r o p e r , w h i c h i n c l u d e t r o p e s f o r t h e p r o p e r c h a n t s of m a s s as w e l l a o r d i n a r y - o f - m a s s c h a n t s a n d s e q u e n c e s . G r o s ( 1 9 8 3 ) has d e s c r i b e d a n d e d i t e d t h e t e x t of t h e f o u r t e e n t h - c e n t u r y Vich 117 and compared Burgos, it w i t h its s i s t e r Tortosa, manuscript with in Erlangen, M u s i k w i s s e n s c h a f t ( S t a b l e i n 1975, Tarragona, Gerona, processional Institut chants fur and

1 6 0 - 1 ) . T h e r e are a n u m b e r of m a n u s c r i p t s , f r o m ordinary-of-mass

and

sequences ( s o m e t i m e s p o l y p h o n i c ) . O f these (brief d e s c r i p t i o n s a n d b i b l i o g r a p h y b y H u s m a n n i n R I S M B / V / l ) , B a r c e l o n a , B i b l i o t e c a de C a t a l u n a M . 9 1 1 , f r o m G e r o n a in the fifteenth century, may be singled out b e c a u s e of its l a r g e provision of responsory prosulas, more n u m e r o u s than i n any other k n o w n source (Hofmann-

B r a n d t , 1 9 7 1 , B o n a s t r e 1 9 8 2 ) - . A l l these s o u r c e s c o m e f r o m A r a g o n e x c e p t f o r t h e o n e from Burgos in Castile. T h e f a m o u s ' C o d e x C a l i x t i n u s ' , p r o b a b l y c o p i e d i n c e n t r a l F r a n c e at a c e n t r e s u c h as V e z e l a y a r o u n d 1160, w a s d e s t i n e d f o r t h e f a m o u s p i l g r i m a g e s h r i n e of S a n t i a g o d a C o m p o s t e l a ( e d . W h i t e h i l l et al. 1944; m u s i c alone e d . W a g n e r 1931; o n the n a t u r e of t h e s o u r c e see H o h l e r 1 9 7 2 ) . A c o p y of it w a s m a d e at S a n t i a g o i n 1173 b y A r n a l t d e M u n t , a m o n k of R i p o l l ( B a r c e l o n a , C o r o n a de A r a g o n 9 9 ) . C o r b i n ( 1 9 5 2 , Musique, w i t h f u r t h e r i n f o r m a t i o n i n 1960 Deposition) by a joint has s u r v e y e d 1 9 8 5 . ) It is s a i d Portuguese1).

P o r t u g u e s e l i t u r g i c a l b o o k s a n d t h e i r c h a n t . (See also B r a g a n g a 1975, t h a t w h e n L i s b o n w a s c a p t u r e d f r o m t h e M o o r s i n 1147

E n g l i s h e x p e d i t i o n , an E n g l i s h m a n n a m e d G i l b e r t was a p p o i n t e d b i s h o p of L i s b o n a n d i n t r o d u c e d t h e S a l i s b u r y m i s s a l i n t o use t h e r e ( A l m e i d a 1 9 1 0 - 2 2 , i . 5 7 4 n . Q u e e n P h i l i p p a of L a n c a s t e r a c c o r d i n g to S a l i s b u r y use ( A l m e i d a , i . 6 2 7 ) , and m a y have i n s p i r e d her sons, is r e p u t e d to h a v e h e a r d t h e c a n o n i c a l h o u r s d a i l y Saint Extant

F e r d i n a n d ( 1 4 0 2 - 4 3 ) a n d K i n g D u a r t e ( E d w a r d , 1 4 3 3 - 8 ) , to d o the same. s u r v e y s h e w a s a b l e to list o v e r e i g h t y s o u r c e s r e v e a l s Aquitanian practice,

s e r v i c e - b o o k s to s u p p o r t these c l a i m s h a v e n o t yet b e e n d i s c o v e r e d . C o r b i n ' s e x t e n s i v e t h e e x p e c t e d i n f l u e n c e of French traditions, easily visible i n the n o t a t i o n , w i t h other

i n c l u d i n g the C l u n i a c , m a k i n g a c o n t r i b u t i o n . N u m e r o u s C i s t e r c i a n books s u r v i v e . C o r b i n d e s c r i b e s a n u m b e r of l o c a l l i t u r g i c a l c u s t o m s a n d t h e i r m u s i c .

IX.12. (i) (ii) (iii) (iv)

N O R T H E R N

A N D E A S T E R N

E U R O P E

S c a n d i n a v i a and Iceland Poland Czechoslovakia Hungary

T h e p a t t e r n w h i c h w e h a v e s e e n w h e n c h u r c h l i f e w a s r e v i t a l i z e d i n N o r m a n d y at t h e b e g i n n i n g of t h e tenth century was repeated wherever the Roman rite and its p l a i n s o n g m o v e d i n t o n e w r e g i o n s of t h e W e s t . M u c h of c h a n t r e s e a r c h i n these

c i r c u m s t a n c e s consists i n i d e n t i f y i n g the starting-point(s)

of t h e ' c o l o n i z a t i o n ' a n d

i s o l a t i n g t h o s e p a r t s of t h e r e p e r t o r y c o m p o s e d i n the n e w l y e s t a b l i s h e d c h u r c h . T h e s t a r t i n g - p o i n t c a n o f t e n be r e v e a l e d b y p a l a e o g r a p h i c a l as w e l l as r e p e r t o r i a l s t u d i e s . T h e n e w l y c o m p o s e d m a t e r i a l w a s u s u a l l y c a l l e d f o r t h b y t h e c u l t of a l o c a l p a t r o n saint, w h i c h most often entailed a n e w sequence for the mass a n d a n e w office, very possibly m o d a l l y ordered and w i t h r h y m i n g , r h y t h m i c text. A few remarks have been m a d e a b o u t t h e i n t r o d u c t i o n of G r e g o r i a n c h a n t i n t h e H i s p a n i c p e n i n s u l a ; t h i s c h a p t e r l o o k s b r i e f l y at c o u n t r i e s at t h e o p p o s i t e e n d of E u r o p e : S c a n d i n a v i a , P o l a n d , C z e c h o s l o v a k i a , H u n g a r y , a n d D a l m a t i a . I h a v e n o t a t t e m p t e d to s u m m a r i z e a l l t h e r e s u l t s of w h a t i n m a n y cases is v e r y d i s t i n g u i s h e d a n d e x t e n s i v e r e s e a r c h , a n d h a v e s i m p l y c i t e d s o m e of t h e m o r e i m p o r t a n t s t u d i e s .

(i) Scandinavia The three

and

Iceland of medieval Scandinavia coincided geographically covered an with area

archdioceses not

medieval,

modern political divisions. Nidaros ( T r o n d h e i m )

s o m e w h a t l a r g e r t h a n m o d e r n N o r w a y . L u n d i n c l u d e d D e n m a r k a n d t h e s o u t h of m o d e r n S w e d e n , w h e r e t h e c a t h e d r a l w a s i n fact s i t u a t e d . U p p s a l a t o o k i n t h e rest of m o d e r n S w e d e n a n d also F i n l a n d . T h e c h u r c h i n D e n m a r k w a s o r g a n i z e d c h i e f l y f r o m n o r t h G e r m a n y , w h i l e that century. A t the Reformation i n N o r w a y o w e d m u c h to E n g l a n d . were systematically Liturgical and p r a c t i c e i n b o t h l a n d s w o u l d h a v e b e e n e s t a b l i s h e d i n t h e late t e n t h a n d e l e v e n t h liturgical books destroyed r e u s e d to b i n d a n d c o v e r o t h e r b o o k s : vast n u m b e r s of f r a g m e n t s r e m a i n . N u m e r o u s f r a g m e n t s f r o m E n g l i s h s o u r c e s of t h e e l e v e n t h a n d t w e l f t h c e n t u r i e s h a v e s u r v i v e d i n N o r w e g i a n c o l l e c t i o n s , m a n y w i t h n o t a t i o n , a n d t h e s e are n o d o u b t i n d i c a t i v e of a n i m p o r t a n t s o u r c e f o r N o r w e g i a n l i t u r g i e s a n d t h e i r c h a n t (see T o n i S c h m i d 1944, Decreta G j e r l 0 w 1961, present: 1970, the 1 9 7 9 ) . B u t as G j e r l 0 w has s h o w n , o t h e r Nidaros ordinary draws upon both B e r n o l d of C o n s t a n c e sources and influences were a n d the Augsburg (Gjerl0w the sources of the Lanfranc's to the

G e r m a n commentators

a n d H o n o r i u s of

1 9 6 8 ) ; w h i l e m u c h of t h e o r d e r of s e r v i c e s c a n b e t r a c e d Nidaros antiphoner (1979) weighs the evidence of all

E n g l i s h uses, n o o n e p o i n t of d e p a r t u r e e m e r g e s . G j e r l 0 w ' s i n t e n s i v e e x p l o r a t i o n of

fragmentary German (Breviarium

remains, The

then the choice N i d a r o s breviary

of c h a n t s , of 1519

a n d shows once again a strong has b e e n published in facsimile

r e l a t i o n s h i p w i t h t h e v a r i o u s E n g l i s h t r a d i t i o n s as w e l l as s o m e p o i n t s of c o n t a c t w i t h ones. Nidrosiense). T h e N i d a r o s sequentiary has b e e n p u b l i s h e d i n f a c s i m i l e

with transcriptions by E g g e n (1968). R e m a r k a b l e e v i d e n c e of t r a d i t i o n s i n I c e l a n d , s i m i l a r to t h e N o r w e g i a n , a n d d e r i v i n g u l t i m a t e l y f r o m t h e s a m e s o u r c e s , has b e e n d i s c o v e r e d a n d p r e s e n t e d i n e x e m p l a r y f a s h i o n once m o r e b y G j e r l 0 w (1980). A p r o p e r mass a n d office for Iceland's p a t r o n , St T h o r l a c , have s u r v i v e d (ed. Ottosson A p a r t f r o m a r o u n d 15,000 fragments 1924, A n d e r s e n a n d Raasted books survive, to none 1959). 1922-32, 1923, been

with musical notation (Haapanen or antiphoners

1983), o n l y about a d o z e n notated D a n i s h l i t u r g i c a l (Abrahamsen

o f w h i c h are g r a d u a l s interacting with the

A s k e t o r p 1984). S t r o m b e r g s h o w e d that a p o n t i f i c a l f r o m R e i m s m u s t have brought Lund, widespread Roman-German (Stromberg

pontifical

1955), a n d A s k e t o r p was able to s u p p o r t this c o n c l u s i o n to some extent

w i t h a s t u d y of the m e l o d i e s (1984). H u s m a n n ' s c o m p a r i s o n of post-Pentecost a l l e l u i a series i n D a n i s h missals (1962 a n d 1 9 6 4 - 5 , ' S t u d i e n ' ) shows the expected influence of north (Missale German uses. The Lund m i s s a l of 1514 h a s b e e n published i n facsimile Lundense). (c.1513) with

F o r S w e d e n , t h e f r a g m e n t a r y r e m a i n s of t h e p r i n t e d g r a d u a l o f V a s t e r a s have been published i n facsimile (1957). by T o n i Schmid (Graduate of Arosiense), sequences for Sweden's Helander

p a t r o n saints. T h e L i n k o p i n g o r d i n a l has been e d i t e d b y ordinary-of-mass

K r o o n (1953) s t u d i e d S w e d i s h repertories

c h a n t s , M o b e r g ( 1 9 2 7 , 1947) t h o s e of s e q u e n c e s a n d h y m n s . S p e c i a l o f f i c e s h a v e b e e n s t u d i e d b y U n d h a g e n (1960), O n n e r f o r s (1966), M i l v e d e n (1964, 1972), a n d L u n d e n (1976). St B r i d g e t ( B i r g i t t a : c. 1 3 0 3 - 7 3 ) f o u n d e d t h e O r d e r o f t h e B r i g i t t i n e s at V a d s t e n a i n 1 3 4 6 . A b r e v i a r y of t h e i r h o u s e at S y o n n e a r L o n d o n h a s b e e n e d i t e d b y C o l l i n s (1969). The thousands of fragments 1924). w h i c h survive i n F i n l a n d have been surveyed by

Haapanen (1922-32,

(ii)

Poland

M o r a w s k i 1988. T h e u n b r o k e n h i s t o r y of R o m a n C a t h o l i c i s m i n P o l a n d s i n c e t h e e n d o f t h e t e n t h c e n t u r y h a s m e a n t t h a t a l a r g e n u m b e r o f m e d i e v a l s o u r c e s are p r e s e r v e d . R e s e a r c h i n t h e last t h i r t y y e a r s h a s b e e n p a r t i c u l a r l y e n e r g e t i c . h a v e b e e n a n a l y s e d ( r e s u l t s p u b l i s h e d i n Musica medii Numerous individual aevi a n d Muzyka sources w religijna

Polsce:

Materialy

i studio).

Most

indicators

point

i n t h e d i r e c t i o n of

Bavaria,

S w i t z e r l a n d , a n d A u s t r i a as t h e u l t i m a t e s o u r c e s of P o l a n d ' s c h a n t t r a d i t i o n s , a p a r t f r o m b o o k s of t h e r e l i g i o u s o r d e r s . W e are p r o b a b l y b e t t e r i n f o r m e d a b o u t P o l i s h s e q u e n c e r e p e r t o r i e s t h a n t h o s e of a n y o t h e r c o u n t r y , t h a n k s to t h e w o r k of K o w a l e w i c z ( 1 9 6 4 ) , M o r a w s k i ( 1 9 7 3 ) , a n d P i k u l i k ( 1 9 7 3 - 6 , 1 9 7 4 1 0 1 s o u r c e s a n d 1 9 7 6 ) . P i k u l i k ( 1 9 7 8 , 1990) h a s c a t a l o g u e d a n d analysed the ordinary-of-mass repertories (ninety sources), a n d also Marian alleluias ( P i k u l i k 1984). P o l i s h pontificals have been s t u d i e d b y M i a z g a (1981).

(iii)

Czechoslovakia 1931; Nejedly 1904/rev. 1 9 5 4 - 6 ; S c h o e n b a u m 1960;

K o n r a d 1881; M u t t e r 1930, V a n i c k y 1960. The bishoprics of Prague

(Bohemia)

and Olomouc

(Moravia)

had

contrasting

h i s t o r i e s . U n t i l i t s d e s t r u c t i o n at t h e b e g i n n i n g of t h e n i n t h c e n t u r y b y t h e M a g y a r s , t h e c h u r c h i n M o r a v i a w a s i n f l u e n c e d as m u c h b y t h e G r e e k as b y t h e R o m a n c h u r c h . T h e r e a f t e r it r e s e m b l e d B o h e m i a i n c o m i n g u n d e r s t r o n g G e r m a n i n f l u e n c e . I n the t e n t h c e n t u r y B e n e d i c t i n e m o n k s , f r o m the R e i c h e n a u , f r o m K o r v e y i n S a x o n y , a n d e s p e c i a l l y f r o m S t E m m e r a m at R e g e n s b u r g , p l a y e d a l e a d i n g p a r t i n t h e B o h e m i a n c h u r c h . T h e r e s u l t s of t h i s i n s u r v i v i n g c h a n t m a n u s c r i p t s h a v e y e t t o b e i n v e s t i g a t e d . F r o m the eleventh century collegiate chapters were increasingly i m p o r t a n t , a n d the later religious orders made their usual c o n t r i b u t i o n . Notations i n medieval Bohemia have been discussed by H u t t e r (1930, 1931). W h e r e a s i n the t w e l f t h century G e r m a n notation signs were used, i n the thirteenth the L a o n t y p e of G o t h i c notation was taken u p . P r a g u e already k n e w staff-notation i n the twelfth century. Plocek's s p l e n d i d l y detailed catalogue of s o u r c e s now in Prague (1973), with n u m e r o u s m e l o d i c i n c i p i t s , g i v e s a g o o d i d e a of t h e r a n g e of s u r v i v i n g m a t e r i a l (see a l s o P o d l a h a 1 9 1 0 ) . A m o n g t h e earliest a n d m o s t i n t e r e s t i n g s o u r c e s is P r a g u e , A r c h i v M e t r o p o l i t n i K a p i t u l y , c i m . 4 , a c o l l e c t i o n of t h e t w e l f t h t o t h i r t e e n t h c e n t u r y f r o m P r a g u e C a t h e d r a l of o f f e r t o r y verses a n d o r d i n a r y - o f - m a s s c h a n t s many of the latter being 'up-to-date' north French manuscripts Schildbach, from Czechoslovakian libraries T h e link were with filmed south by (Spunar 1957), thus compositions. Stablein Numerous and Thannabaur, and Austrian chants centuries w e r e also of

a v a i l a b l e f o r h i s w o r k o n h y m n s a n d t h e s t u d i e s of M e l n i c k i , B o s s e , and Hofmann-Brandt. German

t r a d i t i o n s is c l e a r , w h i l e f o r t h e r e p e r t o r i e s of s e q u e n c e s a n d o r d i n a r y - o f - m a s s c o n t a c t is e v i d e n t w i t h t h e n e w e r t r a d i t i o n s of t h e t w e l f t h to t h i r t e e n t h c o m i n g f r o m c e n t r e s s u c h as P a r i s . T h e L a t i n s o n g s u s u a l l y c a l l e d cantiones written i n large numbers in Bohemia and Moravia (Orel

1922). T h e offices

St P r o c o p i u s a n d St L u d m i l a have been s t u d i e d a n d e d i t e d b y P a t i e r (1970, 1986).

(iv)

Hungary

S z i g e t i 1963; D o b s z a y 1985, 1990 T l a i n c h a n t ' . T h e H u n g a r i a n c h u r c h was f o r m a l l y constituted u n d e r K i n g (St) S t e p h e n I i n 1001, when ten bishoprics under Esztergom (Gran) were established. de The Hungarian officiis b i s h o p s are r e p o r t e d to h a v e d e c i d e d i n 1100 to n o r m a l i z e t h e i r l i t u r g y a c c o r d i n g t o t h e o r d e r of s e r v i c e i n B e r n o l d of C o n s t a n c e ' s Micrologus ( K e n n e d y 1956, 2 3 4 ) . first ecclesiasticis R e p e r t o r i a l s t u d i e s h a v e n o t yet c o n f i r m e d t h i s .

T h e e a r l i e s t s u r v i v i n g s o u r c e s w i t h n o t a t i o n are f r o m t h e late e l e v e n t h c e n t u r y , t h e of m a n y m a n u s c r i p t s t a k e n to Z a g r e b a f t e r its d i o c e s e h a d b e e n f o u n d e d u n d e r ( V i d a k o v i c 1 9 6 0 ) . A f u l l y n o t a t e d a n t i p h o n e r of t h e e a r l y (Stuhlweissenburg, as h a s a n early Strigoniense). exceptional p u b l i s h e d i n f a c s i m i l e {Codex Albensis), notatum H u n g a r i a n r u l e i n 1094 Alba Regia), has b e e n

t w e l f t h c e n t u r y , the s o - c a l l e d ' C o d e x A l b e n s i s ' f r o m S z e k e s f e h e r v a r f o u r t e e n t h - c e n t u r y n o t e d m i s s a l f r o m E s z t e r g o m (Missale C h a n t research

has b e e n p u r s u e d i n H u n g a r y i n recent years w i t h

e n e r g y a n d a u t h o r i t y . I n v i r t u a l l y a l l areas s u b s t a n t i a l a n d s y s t e m a t i c s t u d i e s h a v e been m a d e w h i c h often surpass those available for other countries. Rado's catalogue ( 1 9 7 3 ) of l i t u r g i c a l b o o k s i n H u n g a r i a n a n d n e i g h b o u r i n g l i b r a r i e s h a s p r o v i d e d t h e foundation for further basic work, in particular the catalogue, analysis, and c l a s s i f i c a t i o n b y S z e n d r e i ( 1 9 8 1 ) of o v e r 8 5 0 c o m p l e t e a n d f r a g m e n t a r y s o u r c e s , w i t h o v e r 100 f a c s i m i l e s . E q u a l l y i m p r e s s i v e is S z e n d r e i ' s a c c o u n t of H u n g a r i a n c h a n t notations (Szendrei 'Geschichte'). The 1983, w i t h copious facsimiles; revised G e r m a n version 1988, d o m i n a n t type was that d e v e l o p e d at E s z t e r g o m w h e n s t a f f -

n o t a t i o n w a s t a k e n u p at t h e b e g i n n i n g of t h e t w e l f t h c e n t u r y , r e s e m b l i n g s o u t h G e r m a n staff-notation i n m a n y respects, but seemingly a consciously evolved n e w variety. O f f i c e s f o r H u n g a r i a n s a i n t s h a v e b e e n e d i t e d b y F a l v y ( 1 9 6 8 ) . T h e c o r p u s of s e q u e n c e s i n H u n g a r i a n s o u r c e s has b e e n e d i t e d b y R a j e c k y a n d R a d o ( 1 9 5 6 ) , a n d a n e d i t i o n of t h e c o m p l e t e r e p e r t o r y of o f f i c e a n t i p h o n s is i n p r e p a r a t i o n . R e p e r t o r i a l studies have concentrated w e l l (see U l l m a n n 1985, D o b s z a y 1988, H u n g a r i a n experts 1971). T h e D a l m a t i a n c o a s t a r e a , p a r t of C r o a t i a i n t h e e l e v e n t h c e n t u r y a n d v a r i o u s l y under H u n g a r i a n , Bosnian, and Serbian control, received chant-books f r o m south I t a l y a n d m a d e its o w n w i t h B e n e v e n t a n n o t a t i o n ( B i r k n e r 1963, by G y u g 1990). Hudovsky 1965, B u j i c 1 9 6 8 ; see also t h e D a l m a t i a n s o u r c e s i n L o e w - B r o w n 1980 a n d t h e i t e m s s t u d i e d o n o f f i c e - b o o k s , a n u m b e r of w h i c h D o b s z a y and Proszeky 1988). dominant have b e e n c o m p l e t e l y i n v e n t o r i e d a n d c o m p a r e d w i t h n u m e r o u s e x t r a - H u n g a r i a n t r a d i t i o n s as d i s t i n g u i s h a Z a g r e b liturgical t r a d i t i o n f r o m the

E s z t e r g o m one. Sources have been s t u d i e d b y H o f l e r (1967) a n d H u d o v s k y (1967,

Reformations of Gregorian C h a n t
X . l . Fellerer, ' C h o r a l r e f o r m ' , MGG. I N T R O D U C T I O N

T h e R o m a n - F r a n c i s c a n chant repertory does not m a r k a r a d i c a l l y n e w b e g i n n i n g i n t h e h i s t o r y of W e s t e r n c h a n t , e x c e p t i n so f a r as it m e a n t t h e e n d of O l d R o m a n c h a n t i n t h e E t e r n a l C i t y i t s e l f . W h a t e v e r m u s i c a l r e f o r m s it m a y h a v e i n v o l v e d , f o u n d i n m o s t c h u r c h e s i n m o s t l a n d s . T h e C i s t e r c i a n o r d e r of m o n k s , they e m b o d y a c o n c e p t of G r e g o r i a n c h a n t n o t i n a n y s u b s t a n t i a l w a y d i f f e r e n t f r o m t h a t however, r e v i s e d its c h a n t r e p e r t o r y a c c o r d i n g t o f i x e d p r i n c i p l e s w h i c h e n t a i l e d q u i t e d r a s t i c alterations i n the m e l o d i e s they h a d i n h e r i t e d . T h e r e f o r e their chant c o m e s first i n this c h a p t e r o n r e f o r m s of t h e c h a n t r e p e r t o r y . Since no early m e d i e v a l chant-books have identical m u s i c a l readings t h r o u g h o u t , t h e y m u s t a l l , t o a g r e a t e r o r lesser e x t e n t , h a v e b e e n m a d e b y , o r a c c o r d i n g to t h e d i r e c t i o n s of, cantors w i t h their o w n i n d i v i d u a l ideas about h o w the m e l o d i e s s h o u l d be s u n g . M e d i e v a l w r i t i n g s o n c h a n t are l i b e r a l l y s t r e w n w i t h r e f e r e n c e s t o cantors w h o ' e m e n d e d ' t h e m e l o d i e s , a n d b o o k s t h a t are ' b e n e e m e n d a t i ' . T h e m o r e s p e c i f i c t h e n o t a t i o n , t h e m o r e o b v i o u s are t h e d i f f e r e n c e s b e t w e e n t h e b o o k s , as f o r e x a m p l e in the case of the ' r h y t h m i c ' and other signs i n the early St Gall and Laon m a n u s c r i p t s . T h e n e c e s s i t y of s p e c i f y i n g p i t c h r e l a t i o n s h i p s a d d e d a n o t h e r a r e a of v a r i a n c e b e t w e e n s o u r c e s . S o m e t i m e s it is c l e a r that t o n a l p r e c o n c e p t i o n s e n t e r e d i n t o t h e m a t t e r , so t h a t c h a n t s w e r e v a r i o u s l y n o t a t e d a c c o r d i n g t o d i f f e r e n t n o t i o n s of t o n a l i t y : less s t r a i g h t f o r w a r d passages i n v o l v i n g s e m i t o n e steps were m a d e more for o b v i o u s , t o n a l l y e c c e n t r i c passages w e r e recast i n t h e i n t e r e s t s of m o d a l u n i t y , a n d so o n . S o m e m a n u s c r i p t s s t a n d o u t as r e l a t i v e l y h e a v i l y ' e d i t e d ' i n t h e s e r e s p e c t s , see S t u a r t 1979). e x a m p l e the S a i n t - Y r i e i x g r a d u a l , P a r i s , B i b l i o t h e q u e N a t i o n a l e , lat. 903 ( P a l M u s 13; T h e C i s t e r c i a n s w e n t w e l l b e y o n d t h i s d e g r e e of e d i t o r i a l i n t e r f e r e n c e , a n d , w h i l e p r e v i o u s v e r s i o n s c a n a l l to s o m e e x t e n t be c a l l e d l i t t l e ' r e f o r m s ' ( b u t ' e d i t i o n s ' w o u l d be b e t t e r ) , t h e i r s w a s a m a j o r r e c a s t i n g of t h e r e p e r t o r y . T h e i r r e v i s i o n w a s a d o p t e d i n large measure religious b y the D o m i n i c a n s . A f t e r these t w o I discuss the c h a n t although these do not encompass major musical of other orders, departures

c o m p a r a b l e w i t h t h a t of t h e C i s t e r c i a n s .

T h e n e x t m a j o r r e f o r m of t h e c h a n t r e p e r t o r y t o o k p l a c e i n t h e a f t e r m a t h of t h e C o u n c i l of T r e n t a n d c a n b e r e g a r d e d as p a r t of t h e C o u n t e r - R e f o r m a t i o n . T h i s r a d i c a l o v e r h a u l o f t h e R o m a n c h a n t r e p e r t o r y w a s b u t t h e b e g i n n i n g of a s e r i e s o f r e c a s t i n g s of t h e r e p e r t o r y i n o t h e r l a n d s , p a r t i c u l a r l y i n F r a n c e , w h e r e s o - c a l l e d ' N e o - G a l l i c a n ' c h a n t w a s w r i t t e n as a s u b s t i t u t e f o r t h e m e d i e v a l o r t h e n e w e r R o m a n melodies.

X.2.

T H E C I S T E R C I A N S

D e l a l a n d e 1949; M a r o s s z e k i 1952; C o c h e r i l 1956, 1962; G u m p e l 1959; C a n a l 1960; H i i s c h e n , 'Zisterzienser', MGG\ B e r r y , 'Cistercian M o n k s ' , NG\ H u g l o 1971, Tonaires, 3 5 7 - 6 7 ; W a d d e l l 1970, 'Prologue', 1970 ' O r i g i n ' , 1971, 1976, 1980, 1984, 1985; Choisselet and V e r n e t 1989. The C i s t e r c i a n o r d e r t a k e s its n a m e f r o m t h e m o n a s t e r y of C i t e a u x , n e a r D i j o n , b y the wished Benedictine to recover a monk Robert simpler and of M o l e s m e a n d l i k e - m i n d e d stricter form of Benedictine who

f o u n d e d i n 1098 brethren,

m o n a s t i c i s m t h a n t h a t g e n e r a l l y p r a c t i s e d i n t h e i r t i m e . It r o s e to E u r o p e - w i d e f a m e a n d i n f l u e n c e t h r o u g h t h e e x a m p l e a n d a c t i v i t y of S t B e r n a r d o f C l a i r v a u x ( 1 0 9 0 1 1 5 3 ) . D a u g h t e r h o u s e s o b s e r v e d t h e s a m e l i t u r g y as C i t e a u x . S u c h u n i f o r m i t y w a s not entirely n e w , for a l t h o u g h B e n e d i c t i n e houses were b o u n d to no one liturgy, i d e n t i t y of l i t u r g i c a l p r a c t i c e b e t w e e n g r o u p s of h o u s e s c a n o c c a s i o n a l l y b e f o u n d , as w h e n they stand i n a m o t h e r - d a u g h t e r relationship. T h u s the N o r m a n monasteries r e f o u n d e d f r o m S a i n t - B e n i g n e of D i j o n a l l r e f l e c t , m o r e o r less e x a c t l y , t h e l i t u r g y of S a i n t - B e n i g n e . T h e i m p o r t a n c e a t t a c h e d to t h i s u n i f o r m i t y a n d t h e s c a l e o n w h i c h it was established i n the C i s t e r c i a n order was, however, u n p r e c e d e n t e d . The C i s t e r c i a n m u s i c i a n s t o o k t h e p e r f o r m a n c e of t h e l i t u r g y i n its ' p u r e ' a n d musical practice at It state ' o r i g i n a l ' f o r m v e r y s e r i o u s l y . W e k n o w l i t t l e of the earliest p r e s c r i b e d i n t h e R u l e of S t B e n e d i c t ,

C i t e a u x , t h o u g h the office was m u c h s h o r t e n e d i n an effort to recover the

often interpreted i n a very literal w a y .

a p p e a r s , h o w e v e r , t h a t t h e a n c i e n t r e p u t a t i o n of M e t z as g u a r d i a n of t h e b e s t c h a n t t r a d i t i o n w a s k n o w n at C i t e a u x , a n d m o n k s w e r e sent to M e t z t o m a k e a c o p y of t h e 'authentic' antiphoner there. The thirteenth-century Metz antiphoners Metz, the B i b l i o t h e q u e M u n i c i p a l e 83 a n d 461 m a y well represent the t r a d i t i o n w h i c h

m o n k s w o u l d h a v e e n c o u n t e r e d ( W a d d e l l 1970, ' O r i g i n ' ) . T h e C i s t e r c i a n c o p i e s a r e l o s t . T h e M e s s i n e c h a n t w a s i n a n y case e v e n t u a l l y p r o n o u n c e d u n s a t i s f a c t o r y a n d S t B e r n a r d w a s a u t h o r i z e d to o v e r s e e a n e w r e v i s i o n . B y a b o u t 1190 a c o m p l e t e c o p y of t h e C i s t e r c i a n l i t u r g y h a d b e e n c o m p i l e d , to b e u s e d as s t a n d a r d f o r a l l o t h e r manuscripts, now Dijon, Bibliotheque M u n i c i p a l e 114 (facs. Hiischen MGG, Choisselet and Vernet century. 1 9 8 9 ) ; t h e last f i v e p a r t s of t h i s m a s s i v e b o o k , including

h y m n a l , g r a d u a l , a n d a n t i p h o n e r , have u n f o r t u n a t e l y been m i s s i n g since the sixteenth

T h e m o d a l considerations w h i c h exercised the C i s t e r c i a n s , like other editors, n o t a t i n g t h e c h a n t s B - f l a t s w e r e to be a v o i d e d , b y t r a n s p o s i t i o n if n e c e s s a r y . w e r e e d i t e d to lie p r e d o m i n a n t l y w i t h i n a s i n g l e o c t a v e , t e n n o t e s b e i n g t h e a u s t e r e a e s t h e t i c , as is t h e o n e that r e p e t i t i o n of w o r d s s h o u l d b e a v o i d e d . The h i s t o r y l e a d i n g u p to these c h a n g e s a n d t h e i n a short prologue 'Bernardus m a i n idea b e h i n d t h e m

were

m e n t i o n e d i n the p r e v i o u s section. T o these were a d d e d q u i t e n e w g u i d e - l i n e s . I n Chants limit.

L o n g m e l i s m a s w e r e c u t b a c k . T h e last p r e s c r i p t i o n is a c l e a r r e f l e c t i o n of a m o r e are by

described 24.

h u m i l i s abbas

Clarevallis' written

B e r n a r d a n d c o m m o n l y a t t a c h e d to C i s t e r c i a n c h a n t - b o o k s ( P L 182, 21-2). The r e g a r d e d as a p r e f a c e to t h e c h a n t - b o o k s ,

1122-3, C S M tract, Cisterciensis

p r i n c i p l e s of the m u s i c a l r e f o r m are d e s c r i b e d i n a l o n g e r beginning ' C a n t u m quern

o r d i n i s e c c l e s i a e ' ( P L 182. 1 1 2 2 - 3 2 , C S M 2 4 . 2 3 - 4 1 ) . T h i s is t h o u g h t t o h a v e b e e n p u t t o g e t h e r b y G u y d e C h e r l i e u , m o n k of C l a i r v a u x a n d f r o m 1131 to 1157 a b b o t o f Cherlieu. ii. The theoretical part of the tract, w h i c h is s u p p o s e d to justify the e m e n d a t i o n s , is i n fact t a k e n f r o m a n e a r l i e r t r e a t i s e , t h e ' R e g u l a d e arte m u s i c a ' ( C S 1 5 0 - 9 1 ) of a n o t h e r G u y G u y d ' E u ( G u i d o A u g e n s i s ; n o t G u y d e C h a l i s , as 1132 of H i s treatise, first beginning abbot C o u s s e m a k e r h a d i t ) . T h i s G u y w a s also a m o n k at C l a i r v a u x , a p p a r e n t l y f r o m at L o n g p o n t , a n d l a t e r a b b o t at a n u n k n o w n m o n a s t e r y . T r e m u n i t o s a u t e m esse v o l u m u s ' , w a s w r i t t e n f o r h i s p u p i l W i l l i a m ,

R i e v a u l x i n Y o r k s h i r e , i n 1132. F u r t h e r m o r e , t h e s o - c a l l e d ' T o n a l e s a n c t i B e r n a r d i ' at t h e e n d of e a r l y C i s t e r c i a n a n t i p h o n e r s is also f r o m G u y d ' E u ' s t r e a t i s e ( G S i i . 2 6 5 7 7 , P L 182. 1 1 5 3 - 6 6 ) . ( T h i s c o m p l i c a t e d s i t u a t i o n w o u l d b e c o n s i d e r a b l y s i m p l i f i e d if t h e s e w e r e t h e s a m e G u y s , b u t t h e r e q u i r e d p r o o f has n o t yet t u r n e d u p . ) M a r o s s z e k i c a r r i e d o u t a n u m b e r of tests to e s t a b l i s h t h e p a r e n t a g e of t h e C i s t e r c i a n c h a n t t r a d i t i o n , a n d t h e s e h a v e to s o m e e x t e n t b e e n r e f i n e d i n Graduel b y H e s b e r t i n CAO romain I V and The 5 . T h e o r d e r of A d v e n t o f f i c e r e s p o n s o r i e s d o e s i n d e e d a g r e e w i t h

t h e s e r i e s i n t h e t h i r t e e n t h - c e n t u r y a n t i p h o n e r of S a i n t - A r n o u l at M e t z , M e t z 8 3 .

m e l o d i c v a r i a n t s i n t h e g r a d u a l p o i n t m o r e i n t h e d i r e c t i o n of D i j o n , s i t u a t e d o n l y 2 0 k m . n o r t h of C i t e a u x ( w h e r e a s M e t z is o v e r 2 5 0 k m . f u r t h e r ) , b u t n o g r a d u a l f r o m M e t z survives for comparison. I n v i e w of w h a t has b e e n s a i d , it m a y s e e m o t i o s e to c o m p a r e C i s t e r c i a n b o o k s w i t h traditional ones. But the alterations mentioned i n the famous preface are not e n c o u n t e r e d v e r y o f t e n . O n e has o n l y to l o o k at t h e p a g e s f r o m C i s t e r c i a n g r a d u a l s reproduced in P a l M u s 2-3 a n d M a r o s s z e k i to see h o w r e s o l u t e l y t h e y k e e p to t h e usual path, B-flats, melismas, and a l l . M a r o s s z e k i and D e l a l a n d e (1949) certainly p r o v i d e m a n y e x a m p l e s of a l t e r a t i o n s , b u t t h e y d o n o t , b y a n d l a r g e , l e a p to t h e eye i n medieval manuscripts. T h e n o t a t i o n i n D i j o n 114 is a v a r i e t y of F r e n c h n o t a t i o n o n l i n e s w i t h a n u m b e r of L a o n (Messine) features, t h e t y p e w h i c h e v e n t u a l l y d e v e l o p e d i n t o w h a t is u s u a l l y called ' G o t h i c ' notation, a n d i n various manifestations this was the notation used i n v e r y m a n y s u b s e q u e n t C i s t e r c i a n b o o k s . It has b e e n s u g g e s t e d t h a t C i s t e r c i a n b o o k s w e r e t h e p r i m e a g e n t f o r t h e p r o p a g a t i o n of t h i s n o t a t i o n i n G e r m a n y a n d l a n d s east, i n o t h e r w o r d s of t h e c h a n g e f r o m staffless to s t a f f - n o t a t i o n a n d f r o m G e r m a n to

G o t h i c signs ( H o u r l i e r 1951, ' M e s s i n e ' , 1 5 3 - 7 ) . S z e n d r e i (1985) has p o i n t e d to the lack of exactitude Cistercians' On i n use of t h e t e r m s ' M e s s i n e ' a n d ' G o t h i c ' a n d s h o w n t h a t t h e was only one of several varieties involved i n the new notation

developments i n south G e r m a n y and Austria. four occasions the Benedictine R u l e calls a h y m n a n ' A m b r o s i a n u m ' . T h e C i s t e r c i a n s t h e r e f o r e t r i e d t o f i n d t h e h y m n s of S t A m b r o s e f o r t h e i r r e v i s e d o f f i c e ( o r r a t h e r , office restored to its ' a u t h e n t i c ' f o r m a n d c o n t e n t ) , t r a v e l l i n g to M i l a n f o r the p u r p o s e (at a t i m e w h e n t h e M i l a n e s e w e r e p r o b a b l y n o t y e t u s i n g n o t a t e d h y m n a l s ) . A h y m n a l w i t h t h i r t y - f o u r texts, to nineteen m e l o d i e s , was c o m p i l e d , m a n y of t h e m h e r e t o f o r e q u i t e u n k n o w n o u t s i d e M i l a n . T h i s w a s u s e d a m o n g o t h e r p l a c e s at t h e m o n a s t e r y of the Paraclete f o u n d e d b y A b e l a r d f o r Heloi'se, a n d t w o i n t e r e s t i n g letters b y A b e l a r d s u r v i v e , c o m m e n t i n g o n the general strangeness a n d literary peculiarities of t h e h y m n a l ( W a d d e l l 1 9 7 6 ) , o n e of t h e m A b e l a r d ' s o n l y l e t t e r t o S t B e r n a r d . T h e h y m n a l was indeed eventually f o u n d generally unsatisfactory, a n d a n e w one prepared with sixty texts to t h i r t y - s e v e n m e l o d i e s (seven of t h e p r e v i o u s m e l o d i e s were d r o p p e d ) . T h e n o n - ' A m b r o s i a n ' h y m n s were assigned to h o u r s other t h a n V e s p e r s , the N i g h t O f f i c e , a n d L a u d s , w h e n the R u l e of St B e n e d i c t does n o t use the specific t e r m ' A m b r o s i a n u m ' . B o t h the first a n d s e c o n d h y m n a l have b e e n e d i t e d b y W a d d e l l (1984) w i t h definitive c o m m e n t a r y .

X.3.

T H E D O M I N I C A N S

B o n n i w e l l 1944; D e l a l a n d e 1949; H i i s c h e n , ' D o m i n i k a n e r ' , MGG\ G l e e s o n 1972; B e r r y , ' D o m i n i c a n F r i a r s ' , NG. The D o m i n i c a n o r d e r of friars ( O r d o P r a e d i c a t o r u m , O r d e r of F r i a r s Preachers),

f o u n d e d by St D o m i n i c , was formally constituted

i n 1220. Its o r g a n i z a t i o n w a s

s t r o n g l y c e n t r a l i z e d , l i k e t h a t o f t h e C i s t e r c i a n s , a n d its c h a n t p r a c t i c e a l s o f o l l o w e d the C i s t e r c i a n i n m a n y respects. T h e office is, h o w e v e r , celebrated a c c o r d i n g to the R o m a n or secular cursus, not the monastic. T h e first m o v e s to f o r m u l a t e a s t a n d a r d l i t u r g y appear to have been taken b y the second M a s t e r - G e n e r a l , J o r d a n of S a x o n y ( 1 2 2 1 - 3 7 ) . A n e w r e v i s i o n w a s set i n m o t i o n i n 1244 b y J o h n t h e T e u t o n ( 1 2 4 1 - 5 2 ) . A t t h e G e n e r a l C h a p t e r o f 1245 a c o m m i s s i o n of f o u r b r o t h e r s w a s a p p o i n t e d , o n e f r o m e a c h o f t h e f o u r m o s t i m p o r t a n t p r o v i n c e s of t h e o r d e r , F r a n c e , E n g l a n d , L o m b a r d y , a n d G e r m a n y , w h o w e r e t o p o o l t h e i r k n o w l e d g e a n d materials. ( H e s b e r t 1980, ' S a r u m ' s h o w s h o w the S a r u m office m a y have played a part i n the final recension.) W o r k i n g sessions i n A n g e r s p r o d u c e d n o g e n e r a l l y a c c e p t a b l e r e s u l t , a n d i n 1250 t h e b r o t h e r s w e r e c o m m i s s i o n e d t o v i s i t M e t z , as t h e C i s t e r c i a n s h a d d o n e . A f t e r f u r t h e r d i s a g r e e m e n t t h e m a t t e r w a s p l a c e d i n t h e h a n d s of t h e n e w l y e l e c t e d M a s t e r - G e n e r a l H u m b e r t of R o m a n s p r e v i o u s l y P r o v i n c i a l of F r a n c e (1254-63), a n d p r o b a b l y already influential i n the w o r k of

r e v i s i o n . H i s p r o p o s a l s w e r e a p p r o v e d at t h e G e n e r a l C h a p t e r s of 1255 a n d 1 2 5 6 . H i s

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o r ' C o r r e c t o r i u m S a n c t i J a c o b i ' (after t h e D o m i n i c a n h e a d q u a r t e r s

S a i n t - J a c q u e s i n P a r i s w h e r e it w a s m a d e ) , o r ' L e G r o s L i v r e ' ( n o w R o m e , S a b i n a X I V . l i t . 1).

A p o r t a b l e c o p y f o r t h e M a s t e r - G e n e r a l ' s use a l s o s u r v i v e s

( L o n d o n , B r i t i s h L i b r a r y A d d . 2 3 9 3 5 ) , a n d a n o t h e r c o m p l e t e c o p y of t h e f o u r t e e n t h c e n t u r y i n S a l a m a n c a . A set of r u l e s f o r t h e c o p y i n g of c h a n t - b o o k s , b a s e d o n t h e Franciscan one, was composed (Van Dijk 1963, Sources, 118, Huglo 1967, 'Reglement'). T h e C i s t e r c i a n a n d D o m i n i c a n series of a l l e l u i a s f o r t h e S u n d a y s a f t e r P e n t e c o s t are i d e n t i c a l , a n d , as D e l a l a n d e has s h o w n , t h e d i f f e r e n c e s d u r i n g t h e rest of y e a r are v e r y f e w . M a n y o f t h e b o w d l e r i z a t i o n s of t h e c h a n t r e p e r t o r y c a r r i e d o u t b y t h e C i s t e r c i a n s w e r e p e r p e t u a t e d i n t h e c h a n t of t h e D o m i n i c a n s , t h o u g h i n m a n y i n s t a n c e s t h e r e w a s a r e v e r s i o n to the n o r m . D e l a l a n d e ( 1 9 4 9 ) has p r o v i d e d n u m e r o u s e x a m p l e s of c o m p l e t e o r p a r t i a l a g r e e m e n t of C i s t e r c i a n a n d D o m i n i c a n b o o k s a g a i n s t t h e g e n e r a l t r a d i t i o n . O c c a s i o n a l l y the D o m i n i c a n s operated where the C i s t e r c i a n s h a d d e c l i n e d to d o so. Ex. X.3.1 Exsurge ( a d a p t e d f r o m D e l a l a n d e 1949, T a b . I X b i s ) s h o w s p a r t of t h e g r a d u a l fer opem nobis V . Deus Domine auribus nostris ( d i s c u s s e d also b y Bomm domine

E x . X . 3 . 1 . F r o m g r a d u a l Exurge
Piacenza ^

i n G r e g o r i a n and C i s t e r c i a n - D o m i n i c a n versions 1949)

_

(Piacenza, B i b l . C a p . 6 5 ; St Petersburg, S a l t y k o v - S h c h e d r i n P u b l i c L i b . ; D e l a l a n d e

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99

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1929,

116-20).

This

piece

is t o n a l l y p r o b l e m a t i c ,

a n d several

different

ways

of

n o t a t i n g it are t o b e f o u n d . T h e C i s t e r c i a n s , f o l l o w e d e x a c t l y b y t h e devised a u n i q u e w a y w h i c h entails a quite drastic r e v i s i o n . The o r D. differences between

Dominicans, the E

notated versions concern the relationship between

m a i n r e c i t i n g n o t e b b o r c , e v e n d n e a r t h e e n d of t h e v e r s e a n d t h e f i n a l , e i t h e r

T h e s i t u a t i o n is c o m p l i c a t e d b y t h e fact t h a t t h e r e c i t i n g n o t e a p p e a r s t o c h a n g e

d u r i n g t h e p i e c e a n d t h e v e r s e m a y b e g i n at a l e v e l h i g h e r t h a n t h e r e s p o n d d i d . A l l p o s s i b l e c o m b i n a t i o n s of t h e s e are to b e f o u n d : Respond Verse To reciting note: cadence: reciting note: cadence: this knot the c o r bb E or D c or c . . . d or b b . . . c E or D cthe the . . . c

Cistercians took a sharp s w o r d i n d e e d , staying f i r m l y w i t h

recitation t h r o u g h o u t a n d t h e n , p r e s u m a b l y feeling that the u s u a l descent to p h r a s e a n d e n d i n g o n a i n s t e a d of E the C i s t e r c i a n / D o m i n i c a n one. o r D. Ex. X.3.1 g i v e s the b e g i n n i n g of

cadence was not adequately p r e p a r e d , e l i m i n a t i n g it altogether b y e x c i s i n g a short g r a d u a l a n d t h e e n d of the v e r s e i n t w o of t h e m o r e t r a d i t i o n a l v e r s i o n s , f o l l o w e d b y

X.4.

C H A N T

I N O T H E R

R E L I G I O U S

O R D E R S

(i) T h e C a r t h u s i a n s (ii) T h e Premonstratensians U n l i k e the C i s t e r c i a n s , other monastic orders d i d not m a k e a r a d i c a l r e v i s i o n of the chant r e p e r t o r y b u t a d a p t e d w h a t lay to h a n d i n a f a i r l y s t r a i g h t f o r w a r d w a y , as monasteries h a d t r a d i t i o n a l l y done. W h i l e each o r d e r was c o n c e r n e d for correctness a n d u n i f o r m i t y of p r a c t i c e t h r o u g h o u t t h e o r d e r , t h e i r t r a d i t i o n s d o n o t c o n t a i n m a n y surprises.

(i)

The

Carthusians L a m b r e s 1970, 1973; Becker 1971, 1975; Huglo 1977,

H i i s c h e n , ' K a r t a u s e r ' , MGG\ 'Livres'.

T h e C a r t h u s i a n o r d e r w a s f o u n d e d b y S t B r u n o of C o l o g n e at t h e G r a n d e C h a r t r e u s e (Charterhouse) contemplative i n t h e A l p s a l i t t l e n o r t h of G r e n o b l e i n 1 0 8 4 . order with a strongly eremitical character. A It w a s c o n c e i v e d as a m a x i m u m of twelve

m o n k s for each monastery was fixed, and rarely relaxed. T h e m o n k s l i v e d alone i n their cells, c o m i n g together o n l y for w o r s h i p a n d for meals o n feast-days. T h e L i t t l e H o u r s were said p r i v a t e l y . T h e order h a d no c o d i f i e d r u l e u n t i l the f i f t h p r i o r of the G r a n d e C h a r t r e u s e , G u i g o ( G u i g u e s de C h a t e l ) , d r e w u p a c u s t o m a r y , c o m p l e t e d i n

1127

(PL

153,

635-760).

This

included regulations

not

just

for the

monastic

d i s c i p l i n e a n d w a y of l i f e b u t also f o r t h e l i t u r g y a n d its c h a n t , w i t h a t o n a r y ( e d . B e c k e r 1975). W h i l e the office u n t i l t h e n h a d f o l l o w e d the R o m a n or secular c u r s u s , G u i g o ' s l i t u r g y h a d the monastic cursus. Some s i m p l i f i c a t i o n s of l i t u r g i c a l a n d m u s i c a l p r a c t i c e s e e m t o h a v e b e e n i n t r o d u c e d : n o n - b i b l i c a l t e x t s w e r e a v o i d e d , as i n t h e l i t u r g y of L y o n ( f o r t h a t r e a s o n h y m n s w e r e s p a r i n g l y u s e d ) ; m e l i s m a s i n o f f i c e r e s p o n s o r i e s w e r e a v o i d e d ; a l l t h o s e p a r t s of t h e r e p e r t o r y w h e r e e x p a n s i o n c a n o f t e n be f o u n d i n m e d i e v a l s o u r c e s f o r e x a m p l e , alleluias, o r d i n a r y - o f - m a s s m e l o d i e s were kept s m a l l . T h e o r d e r had no interest i n m u s i c a l s p l e n d o u r . H u g l o has s h o w n t h a t t h e p o s t - P e n t e c o s t a l l e l u i a s of C a r t h u s i a n b o o k s c o r r e s p o n d w i t h t h o s e o f C l e r m o n t , t h e A d v e n t r e s p o n s o r i e s w i t h t h o s e of C l e r m o n t a n d A u r i l l a c . The melodic variants i n proper-of-mass chants agree m o s t often with those of Valence, o n e of t h e A q u i t a n i a n g r o u p of s o u r c e s . Early Carthusian books have

A q u i t a n i a n n o t a t i o n , b u t a v e r y s t r a i g h t f o r w a r d t y p e of s q u a r e n o t a t i o n w a s a d o p t e d at t h e e n d of t h e t w e l f t h c e n t u r y w h i c h l a c k s a n u p w a r d s t r o k e at t h e start of t h e c l i v i s (see P l a t e 14).

( i i ) The

Premonstratensians
y

H i i s c h e n , ' A u g u s t i n e r ' , MGG 1967, 1973.

Tramonstratenser', MGG\

L e f e v r e 1933, etc.;

Weyns

T h e r u l e of S t A u g u s t i n e w a s a d o c u m e n t p r o b a b l y d r a w n u p b y o n e of S t A u g u s t i n e ' s f o l l o w e r s a n d p a r t l y o n the particular observances basis of h i s w r i t i n g s , w h i c h specified a n u m b e r of and offered more general c o m m e n t a b o u t t h e n a t u r e of a

c o m m o n r e l i g i o u s l i f e . It w a s l i t t l e u s e d i n t h e e a r l y M i d d l e A g e s , b u t w a s t a k e n u p b y t h e c o m m u n i t i e s of c l e r i c s w h o i n c r e a s i n g l y f r o m t h e m i d - e l e v e n t h c e n t u r y a n d t h e p e r i o d of t h e ' G r e g o r i a n r e f o r m ' s o c a l l e d a f t e r t h e r e f o r m i n g p o p e G r e g o r y V I I , 1073-85formed r e l i g i o u s g r o u p s d e v o t e d to a l i f e of p o v e r t y a n d c e l i b a c y They used the l i t u r g y of w h a t e v e r diocese in i m i t a t i o n of t h e f i r s t C h r i s t i a n s . T h e y b e c a m e k n o w n also as ' C a n o n s R e g u l a r ' b e c a u s e t h e y f o l l o w e d a R u l e (Regula). i n h a b i t e d , except they i n t h e case of c o n g r e g a t i o n s g r o u p e d u n d e r t h e l e a d e r s h i p of a

p a r t i c u l a r l y i n f l u e n t i a l h o u s e . S u c h w e r e t h e A u g u s t i n i a n c a n o n s of S a i n t - V i c t o r , P a r i s , w h o s e v e r s i o n of t h e P a r i s l i t u r g y w a s u s e d b y o t h e r V i c t o r i n e A u g u s t i n i a n canons (for example at Bristol in England). The most influential were the Premonstratensians, The f o u n d e d b y S t N o r b e r t at P r e m o n t r e , a l i t t l e w e s t of L a o n , i n has b e e n d e s c r i b e d i n v a r i o u s w o r k s b y

1 1 2 0 . T h e y w e r e p a r t i c u l a r l y a c t i v e i n east G e r m a n y a n d H u n g a r y . l i t u r g y of t h e P r e m o n s t r a t e n s i a n s L e f e v r e , w h o has e d i t e d s e v e r a l o r d i n a l s . T h e t e x t of t h e m a s s has b e e n s t u d i e d b y W e y n s (1967, 1 9 7 3 ) . It is n o t c l e a r to w h a t e x t e n t t h e c h a n t w a s u n i f i e d a m o n g manuscripts from the P r e m o n s t r a t e n s i a n h o u s e s . T h e m o n k s of S o l e m e s t e s t e d t h e m e l o d i c v a r i a n t s of o n e source f r o m P r e m o n t r e itself, a n d other P r e m o n s t r a t e n s i a n Low Countries, G e r m a n y , and Austria. T h e gradual from Premontre (Soissons,

B i b l i o t h e q u e M u n i c i p a l e 85) a n d t w o of t h e G e r m a n s o u r c e s w e r e c l o s e l y s i m i l a r , a n d s i m i l a r to b o o k s f r o m L i e g e a n d A n d e n n e (not L a o n ) . O t h e r s w e r e c l o s e r to o t h e r n o r t h F r e n c h u s e s , a n d o n e w a s g r o u p e d w i t h i n the e a s t e r n p o s s i b l e that some houses entered the P r e m o n s t r a t e n s i a n chant tradition was established. T h e v a r i o u s c o n g r e g a t i o n s of A u g u s t i n i a n C a n o n s R e g u l a r are q u i t e d i s t i n c t f r o m t h o s e o f the A u g u s t i n i a n h e r m i t s o r f r i a r s . T h i s o r d e r was f o r m e d b y P o p e A l e x a n d e r I V i n 1256 f r o m v a r i o u s e r e m i t i c a l c o m m u n i t i e s . T h e y b e c a m e p a r t i c u l a r l y n u m e r o u s i n G e r m a n l a n d s . T h e y had no centralized chant t r a d i t i o n . Little attention has so far b e e n p a i d t o the c h a n t of l a t e r r e l i g i o u s o r d e r s . The 1312, Boyce E u r o p e a n ' b l o c ' . It is after their congregation

C a r m e l i t e O r d e r , f o u n d e d i n P a l e s t i n e i n the m i d - t w e l f t h c e n t u r y a n d t r a n s f e r r e d to I t a l y a c e n t u r y l a t e r , o b s e r v e d the l i t u r g y of a n o r d i n a l b y S i b e r t d e B e k a f r o m but the melodies were not p r e s c r i b e d . Office sources have been surveyed by m u s i c h a v e s u r v i v e d f r o m t h e B r i g i t t i n e O r d e r , f o u n d e d b y S t B r i d g e t of w h i l e t h e b r o t h e r s f o l l o w e d t h e l i t u r g i c a l use of t h e l o c a l d i o c e s e , t h e sisters

( 1 9 9 0 ) , w h o has a l s o e d i t e d t w o s p e c i a l o f f i c e s ( 1 9 8 8 , 1 9 8 9 ) . A n u m b e r of s o u r c e s w i t h Sweden a b o u t 1346 at V a d s t e n a . T h i s w a s o r i g i n a l l y a d o u b l e o r d e r of b o t h m o n k s a n d n u n s ; celebrated a n i n d i v i d u a l M a r i a n o f f i c e l i t u r g y , r e f e r r e d to as t h e ' c a n t u s s o r o r u m ' , a t t r i b u t e d to P e t r u s O l a v i of S k a n n i n g e . Its text has b e e n e d i t e d b y C o l l i n s ( 1 9 6 9 ) a n d L u n d e n ( 1 9 7 6 ) ; S e r v a t i u s ( 1 9 9 0 ) has m a d e a m u s i c a l e d i t i o n of t h e a n t i p h o n s . O f t h e c h a n t of t h e G e r m a n r e f o r m s of B u r s f e l d , K a s t l , a n d M e l k , r e l a t i v e l y l i t t l e is k n o w n , e x c e p t t h r o u g h t h e w o r k of A n g e r e r ( 1 9 7 4 , 1979) o n M e l k . T h e M e l k r e f o r m , i n e s s e n c e yet a n o t h e r r e t u r n to a ' p u r e r ' B e n e d i c t i n e m o n a s t i c i s m , w a s p r o m o t e d b y A l b e r t V of A u s t r i a , w h o f o u n d e d the f a m o u s m o n a s t e r y o v e r l o o k i n g the D a n u b e i n 1412.

X.5.

T H E ' M E D ICE A N ' G R A D U A L 1919.

(1614-15)

Molitor 1901-2; Weinmann The threat to the

R o m a n church f r o m Protestantism

l e d to r e p e a t e d

calls for a

u n i v e r s a l c o u n c i l , w h i c h e v e n t u a l l y t o o k place i n T r e n t i n n o r t h e r n Italy i n t e r m i t t e n t l y between 1545 a n d 1563. O n e of t h e m i n o r m a t t e r s d i s c u s s e d w a s t h e m u s i c of t h e c h u r c h , d e c r e e s a f f e c t i n g w h i c h w e r e i s s u e d at the t w e n t y - s e c o n d t o t w e n t h - f o u r t h s e s s i o n s . A s f a r as p l a i n c h a n t w a s c o n c e r n e d , t h e s e w e r e c o u c h e d i n g e n e r a l t e r m s . I n a l l m u s i c , i n t e l l i g i b i l i t y of t h e text w a s i m p o r t a n t . A n i m p o r t a n t p r o v i s i o n w a s m a d e that p r o v i n c i a l s y n o d s s h o u l d establish m u s i c a l practice w i t h respect to local t r a d i t i o n s and circumstances. that A 1577 It w a s i n t h e R o m a n c h a n t - b o o k s c o m p i l e d i n the a f t e r m a t h of t h e C o u n c i l r e f o r m e d b r e v i a r y h a d b e e n p u b l i s h e d i n 1568, a r e f o r m e d m i s s a l i n 1570. In

c o n c r e t e s h a p e w a s g i v e n to t h e b r o a d i n s t r u c t i o n s of t h e T r i d e n t i n e d e c r e e s .

G i o v a n n i P i e r l u i g i d a P a l e s t r i n a a n d A n n i b a l e Z o i l o w e r e c o m m i s s i o n e d to p r e p a r e

t h e m u s i c f o r t h e m , b u t d i d n o t c o m p l e t e t h e t a s k . N o t u n t i l 1614 a n d 1615, i n f a c t , d i d the t w o v o l u m e s of a n e w g r a d u a l a p p e a r , its e d i t o r s b e i n g F e l i c e A n e r i o a n d F r a n c e s c o S o r i a n o , r e m n a n t s of a s i x - m a n c o m m i t t e e w h i c h h a d b e g u n w o r k i n the ' M e d i c a e a ' or ' M e d i c e a n e d i t i o n ' . A n a n t i p h o n e r a l o n g the s a m e l i n e s w a s n e v e r p l a n n e d . B u t a l r e a d y b e t w e e n 1582 a n d 1588 G i o v a n n i G u i d e t t i , the p a p a l c h a p l a i n , s i n g e r i n t h e p a p a l c h a p e l a n d p u p i l of P a l e s t r i n a , h a d p u b l i s h e d a series of h a n d b o o k s i n s m a l l f o r m a t w i t h m u s i c n o t i n the and g r a d u a l , the responses, most and important of w h i c h w a s An the Directorium chori of 1582, c o n t a i n i n g recitation tones for prayers, lessons, a n d p s a l m s , w i t h h y m n s , short responsories. important innovation in Directorium w a s t h e use of p r o p o r t i o n a l n o t e v a l u e s :
1 2 3 4

1608.

T h e w o r k w a s p u b l i s h e d b y t h e M e d i c i P r e s s i n R o m e , h e n c e its u s u a l a p p e l l a t i o n of

versicles, Guidetti's

m e a s u r e d i n u n i t s of t h e s e c o n d v a l u e .

S i n c e t h e t h i r d v a l u e o n l y o c c u r r e d w h e n f o l l o w e d b y t h e first, a n y p i e c e w a s e x a c t l y I t is i m p o r t a n t to r e m e m b e r t h a t t h e use of t h e s e b o o k s w a s n e v e r o f f i c i a l l y b i n d i n g u p o n t h e c h u r c h . It w a s t h e e x a m p l e t h e y set that w a s m o s t t e l l i n g . T h e w a y t o w a r d s f u r t h e r r e w r i t i n g of t h e a n c i e n t m e l o d i e s w a s o p e n f o r a n y o n e w i t h t h e w i l l a n d a b i l i t y to f o l l o w i t . T h e d r a s t i c n a t u r e of t h e A n e r i o - S o r i a n o r e v i s i o n c a n n o t b e u n d e r s t a t e d . It w a s a complete recasting of t h e repertory a c c o r d i n g to t h e aesthetic p r i n c i p l e s of the h u m a n i s t age, c a r r i e d o u t b y c o m p o s e r s w h o s e m u s i c a l s e n s i b i l i t i e s w e r e f o r m e d b y t h e p o l y p h o n i c c h u r c h m u s i c of P a l e s t r i n a a n d h i s c o n t e m p o r a r i e s (see M e i e r 1 9 6 9 ) . ( E x a c t l y w h a t P a l e s t r i n a m a y h i m s e l f h a v e c o n t r i b u t e d to t h e r e v i s i o n is u n c l e a r . H e w a s o c c u p i e d w i t h it i n 1578, a n d h i s w o r k a n d i d e a s w o u l d h a v e b e e n k n o w n to to the p a p a l c h a p e l . ) T h e corner-stones of the S o r i a n o , w h o w a s h i s a n d Z o i l o ' s p u p i l , a n d to A n e r i o , w h o w a s S o r i a n o ' s p u p i l a n d P a l e s t r i n a ' s s u c c e s s o r as c o m p o s e r r e v i s i o n w e r e m o d e r n i z a t i o n of the t o n a l i t y a n d r e a r r a n g e m e n t of t h e n o t e s t o r e f l e c t c o r r e c t d e c l a m a t o r y p r i n c i p l e s , so that u n a c c e n t e d of a l l . A l t h o u g h t h e M e d i c a e a has n o t b e e n r e p r o d u c e d i n t h e Graduale (Ratisbon) i n 1871, Romanum published in facsimile, it w a s accurately p u b l i s h e d b y t h e firm of P u s t e t i n R e g e n s b u r g syllables s h o u l d not have more n o t e s t h a n a c c e n t e d o n e s . E v e r y t y p e of c h a n t w a s a f f e c t e d , t h e m o r e o r n a t e o n e s m o s t

edited by F r a n z X a v e r H a b e r l . F o r thirty years this e d i t i o n s h o w s t h e t y p e of r e v i s i o n c a r r i e d o u t i n t h e

e n j o y e d p a p a l a u t h o r i t y as the a p p r o v e d f o r m of c h a n t s f o r m a s s , a n d its c o n t e n t s are w i d e l y available for study. E x . X . 5 . 1 M e d i c a e a . Omnes de Saba is the m o d e 5 g r a d u a l f o r E p i p h a n y . I n its G r e g o r i a n altogether.

v e r s i o n , w h e n t h e m e l o d y h o v e r s a r o u n d r , b\\ is s u n g . I n t h e verse t h e final F e x e r t s a s t r o n g e r t o n a l a t t r a c t i o n a n d 6 b s are f r e q u e n t . T h e M e d i c a e a a v o i d s bi] The fluttering r e p e t i t i o n s of c a n d bb are e l i m i n a t e d ; n o t e s are n o t r e p e a t e d at a l l

Ex. X.5.1.

M e d i e v a l a n d M e d i c e a n versions of gradual Omnes de Saba Rome, 1898)

(Piacenza, B i b l . C a p .

6 5 ; Graduate, Piacenza
w

9*

OmPustet
" V

-nes de Sab - ba

u e - n i - ent

au - rum et tus d e -

i*9 -nes de Sa-ba

s ve - ni - ent,

9 au - rum

rm m et thus d e -

OmPiacenza 33C - f e - ren - tes Pustet

et

laudem do-mino

an - nun - ti - an - tes.

- f e - renPiacenza

-tes,

et laudem D6mi-no

an-nun-

-ti-an

tes.

2 Sur - g e Pustet et il - l u - mi - n a -

V.

Sur - ge,

et il - lu - mi - na-

-re

Piacenza r
9

9* qui - a glo- - r i - a do-

99

*9 9*9

H i e - r u - sa - lem Pustet

Je - r u Piacenza
>999

-sa-lem:
-9 *W

qui-a

glo -

ri - a

Do -

mi-ni

su - per te Pustet 99
9 {*-

or - ta

est.

(9*9*

&

su-per

te

or

ta est.

w i t h o u t a c h a n g e o f s y l l a b l e (see t h e f i n a l c a d e n c e s of b o t h p a r t s ) . E a c h m e l i s m a o n t h e f i n a l s y l l a b l e o f a p h r a s e is c u t , a n d t h e b a l a n c e b e t w e e n a c c e n t e d a n d u n a c c e n t e d s y l l a b l e s is a l t e r e d : f o r e x a m p l e , deferentes 1, Saba venient is changed f r o m 1 - 2 - 2 - 5 notes to 1 - 1 - 6 f r o m 3 - 1 3 - 1 - 3 - 1 to 5 - 2 - 2 - 1 - 2 . T h e accented syllables are m a r k e d p l a i n c h a n t the n e w v e r s i o n is a d m i r a b l y

in the Pustet edition, t h o u g h not i n the M e d i c a e a . A s a p i e c e of e a r l y s e v e n t e e n t h - c e n t u r y of t h e m e d i e v a l v e r s i o n r e m a i n s . m o d e r a t e , m e l l i f l u o u s , a n d consonant. B u t none of the ecstatic, o t h e r - w o r l d l y q u a l i t y

X.6.

N E O - G A L L I C A N

C H A N T [Hiley], 'Neo-Gallican

B a u m e r 1905; H e n r i L e c l e r c q , ' L i t u r g i e s neo-gallicanes', DACL\ C h a n t ' , A G ; Fontaine 1980; Brovelli 1982. New Roman liturgical books with

texts revised o n h u m a n i s t

lines were

briefly

f a s h i o n a b l e , o f w h i c h t h e B r e v i a r y of t h e H o l y C r o s s b y C a r d i n a l Q u i n o n e z ( 1 5 3 5 ) i s an e x a m p l e . B u t t h e C o u n c i l of T r e n t ( 1 5 4 5 - 6 3 ) d i d n o t p e r p e t u a t e s u c h i n i t i a t i v e s . T h e n e w R o m a n b r e v i a r y a n d m i s s a l of P i u s V ( 1 5 6 8 a n d 1570 r e s p e c t i v e l y ) w e r e b y n o m e a n s drastic revisions of the t r a d i t i o n a l texts, a n d w o u l d have been f o u n d q u i t e n o r m a l b y t h e average l a t e - m e d i e v a l c a n t o r . T h o s e c a n t o r s o b l i g e d t o p r o v i d e m u s i c for services where they were used w o u l d have h a d n o d i f f i c u l t y i n c o n t i n u i n g to e m p l o y t h e t r a d i t i o n a l c h a n t - b o o k s , p e r h a p s o n e of t h e m a n y p r i n t e d e d i t i o n s w h i c h a p p e a r e d i n t h e s i x t e e n t h c e n t u r y . T h e y w o u l d i n a n y case h a v e h a d t o d o p r e c i s e l y this f o r the office. P o p u l a r Italian b o o k s i n c l u d e d those p r i n t e d b y J u n t a i n V e n i c e : t h e Graduate Romanum of 1606 a n d 1611 a n d t h e Antiphonariurn of 1603. A n o t h e r is of M e c h e l e n t h e Antiphonariurn p u b l i s h e d i n A n t w e r p i n 1611 f o r t h e d i o c e s e

( M a l i n e s ) , w h i c h was used b y H a b e r l for the Pustet a n t i p h o n e r of 1878. (See T a c k 1960 f o r n u m e r o u s f a c s i m i l e s . ) B u t t h e seeds o f l i t e r a r y a n d m u s i c a l r e v o l t against t h e m e d i e v a l h e r i t a g e h a d b e e n s o w n , a n d t h e n e x t t w o c e n t u r i e s w e r e t o see l a r g e n u m b e r s o f q u i t e n e w b o o k s w h e r e texts a n d melodies were revised or c o m p l e t e l y replaced. T o the extent that they m a r k a c o m p l e t e b r e a k w i t h t h e m e d i e v a l c h a n t w h i c h is t h e m a i n s u b j e c t o f t h i s b o o k , t h e y c o u l d b e o m i t t e d f r o m f u r t h e r c o n s i d e r a t i o n here. A n d research o n w h a t is i n fact a vast h e r i t a g e o f s u c h s e r v i c e - b o o k s h a s h a r d l y b e g u n . A b r i e f s t a t e m e n t o f t h e g e n e r a l situation must therefore suffice. T h e m a k i n g of n e w chant-books was p a r t i c u l a r l y energetic i n F r a n c e , w h e r e the c h u r c h ' s r e l a t i o n s h i p w i t h R o m e w a s a m a t t e r of p o l i t i c a l a n d d o c t r i n a l c o n t r o v e r s y . T h e d e c i s i o n s o f t h e C o u n c i l o f T r e n t r e g a r d i n g t h e c o n s t i t u t i o n a l s t r u c t u r e of t h e Roman c h u r c h were not accepted freedom in France, where a strong school of thought ever since the thirteenth supporting f r o m papal authority h a d existed

c e n t u r y . T h e s e beliefs were enshrined i n the F o u r G a l l i c a n A r t i c l e s of 1682, d r a w n u p by Bossuet, a n d a l t h o u g h they were f o r m a l l y w i t h d r a w n a decade later, t h e i r essence

w a s p r o p a g a t e d t h r o u g h o u t the n e x t c e n t u r y . T h e t i d e of o p i n i o n d i d n o t b e g i n to t u r n b a c k i n a n u l t r a m o n t a n i s t d i r e c t i o n u n t i l after the r e s t o r a t i o n of the p e r i o d of c o m p o s i t i o n of w h a t is c o m m o n l y k n o w n as ' N e o - G a l l i c a n ' c h a n t . O f the m a n y l i t u r g i c a l books p r o d u c e d i n m a n y F r e n c h dioceses d u r i n g this p e r i o d , t h o s e f o r t h e o f f i c e are m o r e 1954). T h e Francois radical revisions than those for mass. Particularly Pocknee de The n u m e r o u s w e r e t h e n e w h y m n s , b y s u c h a u t h o r s as S a n t e u i l a n d C o f f i n (see de H a r l a y i s s u e d a n e w b r e v i a r y i n 1680 French m o n a r c h y i n 1814. T h e later s e v e n t e e n t h a n d e i g h t e e n t h c e n t u r i e s t h e r e f o r e m a r k t h e

m o s t i m p o r t a n t n e w l i t u r g i e s w e r e t h o s e of P a r i s , w h e r e A r c h b i s h o p and Archbishop Charles

V i n t i m i l l e b o t h a n e w b r e v i a r y a n d a n e w m i s s a l , i n 1636 a n d 1638 r e s p e c t i v e l y . 139 F r e n c h d i o c e s e s h a d n o n - R o m a n b o o k s b y t h e e n d of the e i g h t e e n t h

b r e v i a r y of C l u n y of 1686 w a s also i n f l u e n t i a l . It has b e e n e s t i m a t e d t h a t n i n e t y o u t o f century ( F o n t a i n e 1 9 8 0 ) , t h e P a r i s b o o k s b e i n g a d o p t e d i n o v e r fifty of t h e m . I n t h e ' N e o - G a l l i c a n ' c h a n t - b o o k s b o t h r e v i s i o n of o l d e r c h a n t s a n d c o m p o s i t i o n of q u i t e n e w o n e s is t o be f o u n d . T h e r e v i s i o n is g e n e r a l l y m o r e r a d i c a l t h a n t h a t of t h e M e d i c a e a , p a r t i c u l a r l y f r o m the t o n a l p o i n t of v i e w . A c c i d e n t a l s w e r e i n t r o d u c e d a n d whole Paris sections of 1754. de Pans, 1754 (pp. 110, 112) shifted to make more obvious tonal sense (from the Baroque de s t a n d p o i n t ) . E x . X . 6 . 1 s h o w s t w o c h a n t s f o r m a s s at E p i p h a n y f r o m t h e Graduel

E x . X . 6 . 1 . Extracts f r o m Graduel

I n the sequence Ad Jesum accurite the note values are usually pairs T , sometimes *\ . I have assumed that triple time was intended throughout. I n the offertory Reges Tharsis I have transcribed note values as f o l l o w s : ^ = J

PROSE. Du 1. (Ton)

P
9

Ad Jesum ac Stel - la fo - ris

- cu-ri-te, prae-di-cat,

Corda ves-tra In-tusfi-des

sub-di-te in-di-cat

Re-gi no - vo Redemptorem

Genti-um. om-ni-um.

, i

J Hue af - fer-re mu-ne-ra Haec e-rit gra - t i s - s i - ma

3s

1 ^'

1J

1
J

Volun-ta - te Sal-va-to - ri

'J* 1
ttz

Hii
li-be-ra, vic-ti-ma,

jHi
1 J J

J Sed mune-ra cor-di-um. Mentis sa-cri - fi - c i - u m .

" 1

Of - fert au - rum ca-ri-tas, Au - ro Rex ag - nos - c i - t u r ,

et myrrham a u s - t e - r i - t a s , Ho-mo myrrha, co - li-tur

Et thus de-si - d e - r i - u m . Thu-re D e - u s Gen-tium.

j
Non in-vi - de Gen-ti-bus Se Ma-gi fi - de - li-um

J I J J J .)

J u - d a e - a , gau - den - ti-bus Post c u s - t o - d e s o - vi-um,

Re-tectum m y s - t e - r i - u m . Jungunt in con - sor - t i - u m .

620 (Ex.X.6.1 com.)

A ' . Reformations

of Gregorian

Chant

Qui Ju-dae - os Beth-le-em fit

ad-vocat ho-di-e

Christus, Gentes convo-cat To-ti-us Ec-cle-si-ae

In unum tu - gu - ri-um. Nascentis ex - or - di-um.

J J.

Regnet Christus

cor-dibus,

Et victis

re - b e l - l i - b u s

Profe - rat im - pe - ri-um

OFFERTOIRE.

Du 8. (Ton)

Re-ges Tharsis

et

in-

-su-lae

mu-

-ne-ra

of-

-ferent:

Reges A - ra-bum

et

Sa - ba

do

na a d - d u

cent;

et

a - do - ra - bunt e - um

om - nes

Re-ges

ter - rae:

omnes

gen-

-tes

ser - vi - ent

e-

A p a r t f r o m t h i s t y p e of c h a n t , t w o o t h e r s w e r e d e v e l o p e d w h i c h h a v e as m u c h i n common with plainchant, B a r o q u e s o n g as w i t h musical, plainchant. These sur le livre were or (i) chant fleuretis. figure or plainchant a n d ( i i ) chant I n t h e first

( P i n e a u 1 9 5 5 , F u l l e r , ' P l a i n c h a n t m u s i c a l ' , NG),

a m e a s u r e d a n d o r n a m e n t e d t y p e of

chant was s u n g b y a soloist, choir sections b e i n g a c c o m p a n i e d b y organ h a r m o n i e s or b y a s e r p e n t . It is k n o w n f r o m treatises b y N i v e r s , P o i s s o n , L e b e u f , a n d L a F e i l l e e , a n d f r o m t h e Cinq Messe florid royale messes en plain-chant (1669) b y H e n r i D u M o n t , of w h i c h the w a s e s p e c i a l l y p o p u l a r . I n t h e s e c o n d ( P r i m 1961) a s o l o i s t i m p r o v i s e d

counterpoint over a chant performed b y a choir i n r h y t h m a n d reinforced again

by the serpent. N e o - G a l l i c a n c h a n t i n F r a n c e w a s n o t t h e o n l y r e p e r t o r y of n o n - R o m a n a n d n o n medieval chant. N u m e r o u s other b o o k s of t h e e i g h t e e n t h a n d early nineteenth c e n t u r i e s , e s p e c i a l l y t h o s e p u b l i s h e d i n G e r m a n y , are l i k e w i s e w i t n e s s t o a t t e m p t s t o r e f o r m p l a i n c h a n t i n a c c o r d a n c e w i t h c o n t e m p o r a r y taste. T h o s e p r o d u c e d b y R e i n e r K i r c h r a t i n B o n n (Theatrum M u n i c h (Cantica sacra, musicae choralis, C o l o g n e 1782) a n d C a s p a r E t t i n 1 8 2 7 , w i t h o r g a n a c c o m p a n i m e n t ) are e x a m p l e s . ( T a c k 1960

g i v e s s e v e r a l f a c s i m i l e s f r o m G e r m a n p u b l i c a t i o n s . ) T h e F r e n c h plainchant is c l e a r l y derived from I t a l i a n canto fratto (as o p p o s e d t o canto fermo

musical puro),

e x e m p l i f i e d i n V i a d a n a ' s ' 2 4 C r e d o a c a n t o f e r m o ' of 1 6 1 9 . T h e a c c o m p a n i m e n t o f c h a n t , i n c r e a s i n g l y c o m m o n i n the seventeenth a n d eighteenth centuries, w a s itself a n i n d u c e m e n t t o r e c o m p o s e c h a n t s i n a s t y l e easier to h a r m o n i z e a n d m o r e i n t h e s t y l e o f c o n t e m p o r a r y solo a n d c o n c e r t a n t e m o t e t s . ( T h e h i s t o r y of p l a i n c h a n t a c c o m p a n i m e n t is a s u b j e c t u n f o r t u n a t e l y t o o l a r g e f o r d i s c u s s i o n h e r e : see S o h n e r 1931 a n d W a g e n e r 1964.) C o n t e m p o r a r y w o r k s w h i c h o f f e r d i s c u s s i o n of o r i n s t r u c t i o n i n p l a i n c h a n t a r e e s s e n t i a l f o r a n u n d e r s t a n d i n g of t h e a t t i t u d e s c u r r e n t i n t h o s e t i m e s . T h o s e w r i t t e n i n the seventeenth a n d eighteenth centuries have been listed a n d discussed b y F e l l e r e r , b o t h briefly (1972, 'Choralpflege') a n d more comprehensively (1985).

T h e Restoration of M e d i e v a l Chant
XI.1. T H E R E T U R N T O T H E S O U R C E

Fellerer, ' C h o r a l r e f o r m ' , M G G , 1 9 7 4 - 5 , 1985. A f t e r t h e p e r i o d of p e r p e t u a l r e v i s i o n a n d n e w c o m p o s i t i o n it w a s p e r h a p s i n e v i t a b l e t h a t t h e i d e a s h o u l d h a v e g a i n e d a s c e n d a n c y o f r e t u r n i n g t o t h e p l a i n c h a n t as it h a d ' o r i g i n a l l y ' b e e n . S e v e r a l factors d e t e r m i n e d the course that events w o u l d take. F i r s t , l i b e r a l i s m i n t h e c h u r c h as a w h o l e w a s d i s c r e d i t e d , n o t least b y t h e F r e n c h R e v o l u t i o n , w h i c h , it w a s felt, h a d n o t been h i n d e r e d b y t h e Jansenist a n d G a l l i c a n m o v e m e n t s i n the F r e n c h c h u r c h . T h e r e was a similar reaction to the ecclesiastical r e f o r m s o f H o l y R o m a n E m p e r o r J o s e p h 11 ( 1 7 6 5 - 9 0 ) , t h e g e n e r a l t e n o r o f w h i c h h a d been to increase religious tolerance a n d l i m i t a t i o n of p a p a l a u t h o r i t y t o s p i r i t u a l m a t t e r s . T h e r e a c t i o n i m p l i e d a r e t u r n t o R o m e i n l i t u r g i c a l as i n o t h e r m a t t e r s . T h e c a l l t o a c t i o n w a s s o u n d e d as e a r l y as 1811 b y A l e x a n d r e - E t i e n n e C h o r o n i n h i s Considerations sur la necessite francais. de retablir le chant de VEglise de Rome dans toutes les eglises de VEmpire ( C h o r o n h a d a l r e a d y d i s t i n g u i s h e d h i m s e l f as a n e d i t o r o f

J o s q u i n , G o u d i m e l , Palestrina, a n d Baroque masters.) S e c o n d l y , t h e p e r e n n i a l t e n d e n c y of t h e c h u r c h t o r e n e w itself b y r e t u r n i n g t o a n e a r l i e r a n d s u p p o s e d l y ' p u r e r ' state c o i n c i d e d w i t h t h e w i d e r r o m a n t i c t e n d e n c y t o i d e a l i z e t h e p a s t . W h e n t h e A g e of R e a s o n c h a l l e n g e d t h e o l d c e r t a i n t i e s , d i s a s t e r h a d e n s u e d . C h u r c h m e n y e a r n e d f o r t h e A g e of F a i t h . T o t h e ' G o t h i c r e v i v a l ' i n c h u r c h architecture, a comparable revival i n c h u r c h m u s i c w o u l d be j o i n e d . Its m u s i c a l i d e a l s h e l d b y a r e m a r k a b l y w i d e b o d y of o p i n i o n i n I t a l y , F r a n c e , a n d G e r m a n y w e r e e m b o d i e d i n t r a d i t i o n a l p l a i n c h a n t a n d t h e p o l y p h o n i c m u s i c of P a l e s t r i n a (see Fellerer, 'Caecilianismus', secrets of medieval MGG). h a d already been developed, particularly b y the T h i r d l y , t h e t e c h n i q u e s of m a n u s c r i p t s t u d y w h i c h w e r e e s s e n t i a l f o r r e v e a l i n g t h e sources B e n e d i c t i n e m o n k s of t h e C o n g r e g a t i o n of S a i n t - M a u r d u r i n g t h e late similar expertise to a c c u m u l a t e i n t h e h a n d l i n g o f t h e first seventeenth but the

a n d e i g h t e e n t h c e n t u r i e s . It w o u l d take u n t i l t h e e n d o f t h e n i n e t e e n t h c e n t u r y f o r notations, w h e r e a b o u t s of m a n y i m p o r t a n t s o u r c e s w a s a l r e a d y k n o w n f r o m t h e M a u r i s t s ' w o r k , f o r e x a m p l e , t h r o u g h M a b i l l o n ' s s t u d y of t h e O r d i n e s R o m a n i , p u b l i s h e d as e a r l y as 1689.

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p a r t i c u l a r p a r t p l a y e d b y the B e n e d i c t i n e a b b e y o f S o l e s m e s n e a r L e M a n s

a f t e r its r e s t o r a t i o n b y D o m P r o s p e r G u e r a n g e r i n the 1830s w i l l b e d i s c u s s e d i n t h e n e x t s e c t i o n . S o l e s m e s w a s of c o u r s e n o t a l o n e i n s t u d y i n g a n c i e n t s o u r c e s as a m e a n s of r e n e w i n g t h e q u a l i t y of t h e c h u r c h ' s m u s i c . S o m e of t h o s e w h o f a v o u r e d a r e t u r n to t h e R o m a n l i t u r g y w e r e n o t i n t e r e s t e d i n t h e m e d i e v a l m e l o d i e s , a n d w i s h e d to r e i n t r o d u c e the M e d i c e a n a n d o t h e r e d i t i o n s of t h a t p e r i o d . T h e M e d i c a e a p l u s the Antiphonale of P e t e r L i e c h t e n s t e i n , V e n i c e , 1580, f o r m e d t h e b a s i s of t h e s e v e r a l b o o k s p r o d u c e d i n the 1840s a n d 1850s b y D u v a l , d e V o g t , a n d B o g a e r t s u n d e r the a u s p i c e s of C a r d i n a l S t e r c k x i n M e c h e l e n ( M a l i n e s ) . A s l o n g as R o m e i t s e l f r e m a i n e d i n a c t i v e , t h i s w a s also t h e p o s i t i o n of t h e C e c i l i a n (see m o v e m e n t i n G e r m a n y , f o u n d e d i n 1868 i n R e g e n s b u r g b y F r a n z X a v e r W i t t p u b l i c a t i o n s b y t h e f i r m of P u s t e t i n t h e s a m e c i t y . S o m e of t h e l a n d m a r k s i n r e c o v e r i n g t h e m e d i e v a l m e l o d i e s are as f o l l o w s . I n M e d e c i n e H . 159, Lambillotte w i t h alphabetic letters a n d neumes of St in parallel. In Gall, 1851 1846 Louis 359, J . - L . - F . D a n j o u d i s c o v e r e d the eleventh-century m a n u s c r i p t M o n t p e l l i e r , F a c u l t e de published a hand-drawn facsimile Stiftsbibliothek

L i c k l e d e r 1988), a n d the justification for the editorial line taken b y H a b e r l i n the

unfortunately not accurately L a m b i l l o t t e ' s Graduate

d o n e , b e l i e v i n g that this was the m a n u s c r i p t w h i c h , a n d a n Antiphonarium w e r e p u b l i s h e d i n 1855 i n

a c c o r d i n g t o S t G a l l l e g e n d , w a s s e n t f r o m R o m e itself b y P o p e H a d r i a n I ( I X . 3 ) . Romanum P a r i s after his d e a t h b y D u f o u r , b u t d i d not f o l l o w St G a l l 3 5 9 n o t s u r p r i s i n g l y , s i n c e t h e n e c e s s a r y w o r k of c o m p a r i n g it w i t h o t h e r s o u r c e s to d e c i d e o n p i t c h e s t o i n t e r p r e t its n e u m e s w o u l d o n l y be a c c o m p l i s h e d l a t e r . S e v e r a l e d i t i o n s w i t h p a r t i a l l y restored m e l o d i e s w e r e p r o m i n e n t i n the s u p e r s e s s i o n of N e o - G a l l i c a n books in France, of w h i c h t h e g r a d u a l p r o m o t e d b y t h e b i s h o p s of R e i m s a n d C a m b r a i ( 1 8 5 1 ) is t h e m o s t s i g n i f i c a n t . It w a s r e p u t e d l y b a s e d , at least i n part, o n the M o n t p e l l i e r m a n u s c r i p t a n d other m e d i e v a l codices, b u t the r e s t o r a t i o n w a s s t i l l h a l f - h e a r t e d . T h e o t h e r b o o k s t o o k a g o o d d e a l of a c c o u n t of t h e C a m b r a i e d i t i o n , but were still more t i m i d , especially in melismatic chants. Reims-

D i s c u s s i o n of t h e m e r i t s a n d d e m e r i t s of these a n d o t h e r F r e n c h e d i t i o n s f o r m s a lively chapter i n that c o u n t r y ' s scholarly m u s i c c r i t i c i s m , a n d very n u m e r o u s were the m e m o i r s p u b l i s h e d , t h e c o m m i t t e e s a n d s o c i e t i e s f o r m e d (see F e l l e r e r 1 9 7 4 - 5 , e s p . 143-5 o n the R e i m s - C a m b r a i commission). In G e r m a n y a p i o n e e r i n g role 1869 he f o u n d e d a b r a n c h of Jahrbuch), was the played by Michael Hermesdorff (1833-85). In j o u r n a l Cacilia ( f o u n d e d i n 1862,

A l l g e m e i n e r C a c i l i e n v e r e i n f o r the T r i e r d i o c e s e a n d f r o m 1872 t o 1878 l a t e r t h e Kirchenmusikalisches

edited the which

f r o m t i m e to t i m e i n c l u d e d f a c s i m i l e s of m e d i e v a l c h a n t s o u r c e s . I n 1872 he f o u n d e d a V e r e i n z u r E r f o r s c h u n g a l t e r C h o r a l - H a n d s c h r i f t e n ( S o c i e t y f o r t h e I n v e s t i g a t i o n of O l d C h a n t M a n u s c r i p t s ) , a n d he w a s P e t e r W a g n e r ' s c h o i r m a s t e r a n d t e a c h e r . p u b l i s h e d s e v e r a l c h a n t e d i t i o n s , i n c l u d i n g a Graduate Antiphonale Gregorii ( 1 8 6 4 ) , Kyriale . . . Trevirensis ad normam ( 1 8 6 9 ) , a n d a s e c o n d Graduate cantus He S. (1863), an

( T r i e r , 1 8 7 6 - 8 2 ) . T h e latter was a r e m a r k a b l e p u b l i c a t i o n , w h i c h not o n l y

r e s t o r e d p r a c t i c a l l y t h e e n t i r e m e d i e v a l s h a p e of t h e m e l o d i e s , b u t a l s o i n c l u d e d s m a l l

p r i n t e d n e u m e s , i m i t a t i n g t h e s h a p e s of l a t e r m e d i e v a l T r i e r m a n u s c r i p t s , o v e r t h e m u s i c o n the staff. A s a m e a n s of g a u g i n g the r e l a t i v e d e g r e e of r e s t o r a t i o n e f f e c t e d i n s o m e of t h e a b o v e - m e n t i o n e d e d i t i o n s , E x . X I . 1.1 g i v e s t h e o p e n i n g of t h e g r a d u a l Ex urge non prevaleat the editions. T h e e d i t i o n s of t h e Graduate (1871 a n d 1873) a n d Antiphonale (1878) p u b l i s h e d i n R e g e n s b u r g b y t h e firm of P u s t e t w e r e e d i t e d b y F r a n z X a v e r H a b e r l . T h e g r a d u a l w a s a f a i t h f u l r e v i v a l of t h e M e d i c a e a , t h e a n t i p h o n e r w a s b a s e d o n t h e p r i n t e d e d i t i o n s of V e n i c e 1585 a n d A n t w e r p 1 6 1 1 . C h a n t s f o r n e w feasts o r a n y t h i n g else r e q u i r e d b y l i t u r g i c a l changes since the seventeenth c e n t u r y were p r o v i d e d b y H a b e r l a n d W i t t . I n 1871 P i u s I X d e c l a r e d t h e R e g e n s b u r g e d i t i o n s to b e t h e o n l y v e r s i o n s officially recognized b y the R o m a n C h u r c h , an astonishing m o n o p o l y enjoyed had this status. by P u s t e t f o r t h i r t y y e a r s , a n d t h e first of its k i n d , f o r t h e M e d i c e a n g r a d u a l h a d n e v e r homo. m o d e r n stave, but r e p r o d u c e d the note-shapes of a l l t h e domine F o r ease of c o m p a r i s o n I h a v e t r a n s c r i b e d a l l t h e v e r s i o n s o n to nineteenth-century

XI.2.

S O L E S M E S A N D T H E V A T I C A N 1972.

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e l e v e n t h c e n t u r y , b u t a f t e r t h e r u i n of t h e F r e n c h R e v o l u t i o n it h a d t o b e f o u n d e d a n e w . D o m P r o s p e r G u e r a n g e r ( 1 8 0 5 - 7 5 ) b o u g h t t h e p r o p e r t y i n 1832, a n d s e t t l e d there with five priests a year later. In 1837 it w a s c o n s t i t u t e d an abbey, with G u e r a n g e r as its first a b b o t , a n d h e a d of t h e F r e n c h B e n e d i c t i n e C o n g r e g a t i o n , b y G r e g o r y X V I . ( F r o m 1880 to 1895 a n d a g a i n f r o m 1901 to 1922 t h e c o m m u n i t y l i v e d i n e x i l e , f o r s o m e y e a r s i n the l a t t e r p e r i o d at Q u a r r A b b e y o n t h e I s l e of W i g h t . ) G u e r a n g e r w a s p a s s i o n a t e l y c o m m i t t e d to t h e r e s t o r a t i o n of R o m a n use i n F r a n c e a n d of a u t h e n t i c m e l o d i e s i n t h e c h a n t , i d e a s set o u t at l e n g t h i n h i s Institutions (1840-51). It w a s a p p a r e n t l y i n 1856 t h a t t h e first w o r k w i t h a m e d i e v a l c h a n t - b o o k w a s c a r r i e d out, w h e n D o m P a u l Jausions t r a n s c r i b e d the ' R o l l i n g t o n Processional', f r o m W i l t o n A b b e y ( n o w l o s t : see C o m b e 1969, 3 1 - 2 , t r a n s c r i p t i o n o n to l i n e s of t h e P o t h i e r . I n 1864 a Directorium first B e n o i t - C a s t e l l i 1 9 6 1 ) . I n 1860 D o m J o s e p h P o t h i e r ( 1 8 3 5 - 1 9 2 3 ) j o i n e d J a u s i o n s i n t h e w o r k of t r a n s c r i p t i o n . T w o y e a r s l a t e r t h e m a n u s c r i p t s i n staffless n e u m e s w e r e t a c k l e d , A n g e r s , B i b l i o t h e q u e M u n i c i p a l e 91 b y J a u s i o n s , a n d S t G a l l S t i f t s b i b l i o t h e k 3 5 9 b y choti w a s c o m p i l e d . A l r e a d y b y 1867 P o t h i e r felt a b l e Melodies t o w r i t e t h e first d r a f t of a ' m e t h o d ' , of t h e t y p e w h i c h a b o u n d e d at t h e t i m e . A n d b y 1868 a n e w g r a d u a l h a d also b e e n p r e p a r e d . T h e s e e v e n t u a l l y b e c a m e t h e gregoriennes Processionale of 1880 a n d t h e Liber gradualis 1873. of 1 8 8 3 . had been published in Meanwhile a lithographed liturgiques

E x . X I . 1.1. O p e n i n g of gradual Ex urge Domine non prevaleat homo: M o n t p e l l i e r , Faculte de M e d e c i n e H . 159, p . 160, Graduate ( R o m e , 1898), p . 79 (Pustet e d i t i o n ) , Graduel romain (Paris, 1874), p . 205 ( R e i m s - C a m b r a i edition), Graduel romain (Marseilles, 1872), p . 92 ( D i g n e C o m m i s s i o n e d i t i o n ) , Graduate . . . Trevirensis ( T r i e r , 1863), p . 124 ( H e r m e s d o r f f ' s first e d i t i o n ) , Graduate ad norm am cantus S. Gregorii ( T r i e r , 1876) ( H e r m e s d o r f f ' s second edition)

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P o t h i e r w a s b u t o n e star i n a b r i l l i a n t c o n s t e l l a t i o n of s c h o l a r s of l i t u r g y a n d c h u r c h h i s t o r y at S o l e s m e s : P i t r a (later c a r d i n a l , w h o s e a i d w a s l a t e r t o b e i n v a l u a b l e i n g a i n i n g p e r m i s s i o n f o r m a n u s c r i p t s to be b r o u g h t to S o l e s m e s a n d p h o t o g r a p h e d ) , C a g i n , C a b r o l , a n d l a t e r Q u e n t i n a n d W i l m a r t , to m e n t i o n o n l y a f e w . I n 1875 A n d r e M o c q u e r e a u ( 1 8 4 9 - 1 9 3 0 ) j o i n e d t h e c o m m u n i t y . It w a s h e w h o c o n c e i v e d t h e i d e a o f t h e s e r i e s o f f a c s i m i l e s Paleographie musicale, whose indisputable evidence should s u p p o r t P o t h i e r ' s p u b l i c a t i o n s . T h e first v o l u m e ( S t G a l l 3 3 9 ) a p p e a r e d i n 1 8 8 9 . P a r t i c u l a r l y significant was the presentation i n v o l u m e s 2 a n d 3 of n e a r l y 2 0 0 m e d i e v a l manuscript international struggle versions congress of t h e s a m e ut palma piece, the gradual Iustus ut palma. i n 1920 A t the on Gregorian chant in N e w York Mocquereau puissant,

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v o l u m e s as a ' w a r m a c h i n e ' ( ' e n g i n d e g u e r r e ' ) i n t h e p r i v i l e g e , ' u n e sorte de " t a n k " s c i e n t i f i q u e , tous les r a i s o n n e m e n t s ennemis'. (Mocquereau

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1 9 2 0 - 1 , 9, c i t e d b y C o m b e 1 9 6 9 , 126.) I n the a f t e r m a t h of t h e F r a n c o - P r u s s i a n W a r ( a n d the above w a s p r o n o u n c e d after t h e F i r s t W o r l d W a r ) it w a s p e r h a p s n o t o n l y f o r m u s i c o l o g i c a l r e a s o n s t h a t French scholars d i s p u t e d the privilege enjoyed b y the Pustet e d i t i o n . T h e a r g u m e n t w a s often a c r i m o n i o u s . T h e c o n s i d e r e d v i e w s o f H a b e r l , e d i t o r of t h e R e g e n s b u r g b o o k s , l a i d stress o n the p a p a l a p p r o b a t i o n the M e d i c a e a enjoyed, the necessity of o b e d i e n c e to R o m e , t h e m u s i c a l v a l u e o f a n e d i t i o n p r e p a r e d b y s u c h g r e a t m u s i c i a n s as P a l e s t r i n a , A n e r i o , a n d S o r i a n o , a n d t h e p r a c t i c a l m e r i t s o f t h e m e l o d i e s as a g a i n s t t h e m u c h m o r e difficult versions restored b y Solesmes ( H a b e r l 1902). A n i n t e r n a t i o n a l c o n g r e s s h e l d at A r e z z o i n 1882 v i n d i c a t e d t h e w o r k o f S o l e s m e s , o n l y to have its r e s o l u t i o n s rejected b y R o m e . gradualis I n 1884 P i t r a p r e s e n t e d the Liber t o L e o X I I I , w h o p r a i s e d its s c i e n t i f i c w o r t h b u t m a d e i t c l e a r t h a t it w o u l d cattolica i n R o m e , was w o n round under

n o t b e a d o p t e d b y t h e V a t i c a n as n o r m a t i v e . A n i m p o r t a n t p o i n t w a s g a i n e d w h e n t h e J e s u i t A n g e l o d e S a n t i , e d i t o r of t h e j o u r n a l Civiltd b y M o c q u e r e a u , a n d t h e s t u d e n t s o f t h e F r e n c h s e m i n a r y i n R o m e also a d o p t e d t h e S o l e s m e s m e l o d i e s . O t h e r R o m a n c h o i r s , i n c l u d i n g the Sistine c h o i r itself Pustet edition was w i t h d r a w n by L e o X I I I acted q u i c k l y to sanction the restored i n 1899, a n d w h e n Pustet's T h e famous motu proprio A n t o n i o R e l l a , g r a d u a l l y f o l l o w e d s u i t . T h e d e c r e e o f 1883 c o n f i r m i n g s u p p o r t f o r t h e monopoly ' T r a le been e x p i r e d i n 1901 it w a s n o t r e n e w e d . L e o X I I I d i e d i n 1903 a n d h i s s u c c e s s o r P i u s X chant. s o l l e c i t u d i n i ' , dated St Cecilia's D a y (22 N o v e m b e r ) 1903, appears to have

drafted b y D e Santi. A t r i u m p h a n t congress held i n R o m e

i n 1904 t o m a r k t h e were

t h i r t e e n t h c e n t e n a r y of St G r e g o r y gave r a p t u r o u s a c c l a i m to the restorers a n d t h e c h o i r s s i n g i n g the m e d i e v a l m e l o d i e s . ( M a n y of the speeches a n d p e r f o r m a n c e s a c t u a l l y r e c o r d e d b y t h e G r a m o p h o n e C o m p a n y : see B e r r y 1 9 7 9 . ) M e a n w h i l e a s t r i n g of i m p o r t a n t p u b l i c a t i o n s h a d appeared f r o m S o l e s m e s , Variae preces, w a s p u b l i s h e d i n 1 8 8 8 . T h e first e d i t i o n of t h e Liber a n d i n 1895 t h e r e a p p e a r e d a Liber responsorialis. antiphonarius mostly the was P o t h i e r ' s w o r k . A selection of sequences, v o t i v e a n t i p h o n s , a n d other pieces, p u b l i s h e d i n 1 8 9 1 . P o t h i e r ' s o l d Processionale monasticum, w a s i s s u e d i n 1893 as a

Processionale

(These two contain

a l m o s t t h e o n l y e d i t i o n s of the great r e s p o n s o r i e s of t h e N i g h t O f f i c e to h a v e b e e n i s s u e d , f o r t h e v a r i o u s Antiphonale^ A r e v i s e d Liber Liber usualis. and I n 1904 a c o m m i s s i o n u n d e r P o t h i e r w a s a p p o i n t e d b y t h e V a t i c a n to Pothier 1893 Gradualis w h i c h h a v e a p p e a r e d are f o r t h e d a y h o u r s o n l y . ) w a s i s s u e d i n 1895, a n d t h e first e d i t i o n of t h e c o m p e n d i u m

T h e r e r e m a i n e d t h e task of p r e p a r i n g o f f i c i a l V a t i c a n e d i t i o n s of t h e Graduate Antiphonale. s u p e r v i s e t h e e d i t i o n , w h i c h w a s to be p r e p a r e d b y t h e m o n k s of S o l e s m e s . a n d a b b o t of S a i n t - W a n d r i l l e i n 1898.

w a s n o l o n g e r r e s i d e n t at S o l e s m e s , h a v i n g b e e n a p p o i n t e d p r i o r of L i g u g e i n t h i s , d i f f e r e n c e s b e t w e e n m e m b e r s of t h e o v e r s e e i n g c o m m i s s i o n a n d t h e

P e r h a p s i n e v i t a b l y i n a p r o j e c t as c o m p l e x as executive were

a r o s e . F o r e x a m p l e , P o t h i e r f a v o u r e d c r a t h e r t h a n b as t h e r e c i t i n g n o t e i n m o d e 3 and m o d e 8 chants a n d recitation f o r m u l a s . H e and others (Wagner, Gastoue) r e a d i e r t h a n M o c q u e r e a u t o a d m i t t h e v a l i d i t y of later m e d i e v a l s o u r c e s , f r o m t h e p r e p a r a t o r y d r a f t s of t h e Kyriale. K y r i e Lux et origo and Gloria T , proposals. T h e beginnings run thus: Solesmes: Commission: Solesmes: Commission: * = liquescent Gab Gac b b a a aG aG ab cbbG eaccbG G G ab b* G G ab b* ab aG G G representat-

ives of 'the l i v i n g t r a d i t i o n ' . B e s c o n d (1972, p i . X X I X ) gives a f a c s i m i l e of a page H e r e w e see t h e S o l e s m e s p r o p o s a l f o r t h e Solesmes w i t h t h e c o m m i s s i o n ' s a m e n d m e n t s to

K y - ri-e K y - ri-e Glo-riGlo-ri-

a i n ex-cel-sis a i n ex-cel-sis

de-o de-o

abcb aG

T h e a m e n d m e n t s w e r e c h i e f l y t h o s e of P o t h i e r , W a g n e r , G a s t o u e , a n d G r o s p e l l i e r . It is c l e a r t h a t n o s e n s i b l e a m e n d m e n t s c o u l d be m a d e w i t h o u t r e c o u r s e t o m a n u s c r i p t s o u r c e s , a v a i l a b l e to v e r y f e w of t h e c o m m i s s i o n . T h e S o l e s m e s d r a f t w a s n a t u r a l l y presented without critical apparatus. D i s a g r e e m e n t r e a c h e d s u c h a p i t c h that after 1905 p a r t i n t h e e d i t o r i a l w o r k . T h e Graduate of P o t h i e r ' s Liber 1903. The antiphonarius. I n t h e s a m e y e a r as t h e p u b l i c a t i o n of t h e V a t i c a n Kyriale (1905), an alternative Solesmes version was issued b y Desclee w i t h r h y t h m i c i n d i c a t i o n s : bars a n d dots for l o n g e r notes, accents to i n d i c a t e the 'ictus', for that note i n a g r o u p w h i c h the singer s h o u l d u n d e r s t a n d to b e t h e m o s t i m p o r t a n t , w i t h o u t s t r e s s i n g it d y n a m i c a l l y . T h e s e r e m a i n e d a c h a r a c t e r i s t i c of S o l e s m e s e d i t i o n s of t h e o f f i c i a l b o o k s , a n d of c o u r s e of t h e i r o w n h o u s e p r o d u c t i o n s , n o t a b l y t h e Liber usualis. gradualis, Antiphonale Romanum Romanum followed in Solesmes d i d not take f u r t h e r usualis of Liber of 1908 w a s i n e f f e c t a n e w e d i t i o n 1912, based on Pothier's

r e - e d i t e d i n t h e l i g h t of t h e S o l e s m e s Liber

XI.3.

P R A C T I C A L

E D I T I O N S A N D S C H O L A R L Y H u c k e 1988, ' C h o r a l f o r s c h u n g ' .

R E S E A R C H

S t a b l e i n , ' G r e g o r i a n i k ' , MGG;

A f t e r t h e b r u i s i n g e x p e r i e n c e of t h e V a t i c a n e d i t i o n , S o l e s m e s r e m a i n e d c h a r g e d w i t h the p r e p a r a t i o n of c h a n t e d i t i o n s f o r t h e R o m a n c h u r c h , a task it c o n t i n u e s to p e r f o r m . D u r i n g the present century, however, circumstances have c h a n g e d , i n some w a y s d r a m a t i c a l l y . M o c q u e r e a u w o r k e d i n t h e b e l i e f t h a t a n ' o r i g i n a l ' f o r m of t h e e a r l i e s t m e l o d i e s c o u l d b e e s t a b l i s h e d b y c o m p a r i s o n of t h e o l d e s t s o u r c e s , i n t h e w a y t h a t G u e r a n g e r h a d a s s e r t e d years b e f o r e : ' W h e n m a n u s c r i p t s o f d i f f e r e n t p e r i o d s a n d c o u n t r i e s agree u p o n a p a r t i c u l a r r e a d i n g , w e c a n safely assert t h a t w e h a v e d i s c o v e r e d t h e G r e g o r i a n p h r a s e . ' A s t h i s b o o k h a s t r i e d t o m a k e c l e a r , it is n o t at a l l c e r t a i n t h a t a n ' o r i g i n a l ' f o r m of t h i s t y p e e v e r e x i s t e d . F r o m t h e O l d R o m a n m a n u s c r i p t s , f o r e x a m p l e , w e c a n see s o m e of t h e R o m a n w a y s of s i n g i n g m e l o d i e s i n t h e e l e v e n t h t o t h i r t e e n t h c e n t u r i e s ( m o r e t h a n o n e , f o r t h e m a n u s c r i p t s d o n o t a g r e e ) . W e c a n see several F r a n k i s h w a y s of s i n g i n g the same m e l o d i e s i n t h e n i n t h c e n t u r y , the t e n t h c e n t u r y , a n d so o n . B u t t h e m a n u s c r i p t t r a d i t i o n is t o o v a r i a b l e f o r a s i n g l e ' a u t h e n t i c ' r e a d i n g t o b e d e d u c e d e v e n f r o m a s m a l l g r o u p o f t h e e a r l i e s t s o u r c e s . I n Le Romain recorded Graduel I V t h e m o n k s of Solesmes s h o w e d h o w a n u m b e r of early t r a d i t i o n s c o u l d b e (see also Froger 1978, ' E d i t i o n ' ) . T h e w o r k is n o t c o m p l e t e , and a

identified, a n d proposed a comparative edition where the divergent readings w o u l d be c o r r e s p o n d i n g e d i t i o n o f o f f i c e c h a n t s is also o n l y i n t h e p r e p a r a t o r y s t a g e s . It is n o t o n l y t h e m a g n i t u d e of t h e task w h i c h has d e l a y e d i t s c o m p l e t i o n . T h e changes i n t h e l i t u r g y a n n o u n c e d at t h e S e c o n d ( 1 9 8 1 ) a n d t h e Liber hymnarius Vatican Council (1962-5) have necessitated monasticum t h e p r e p a r a t i o n of other n e w s e r v i c e - b o o k s , of w h i c h t h e Psalterium

( 1 9 8 3 ) h a v e so f a r a p p e a r e d . T h e s e , l i k e the practical a n d the abstract finding have been

a l l t h e p r e v i o u s S o l e s m e s e d i t i o n s , are s e r v i c e - b o o k s f o r p r a c t i c a l u s e . I n the history of plainchant research, i n e x t r i c a b l y e n t w i n e d . S c h o l a r s h i p d e v o t e d to out a n d u n d e r s t a n d i n g the

m u s i c o f t h e past a n d p r e s e n t h a s s o m e t i m e s b e e n a l m o s t i n s e p a r a b l e f r o m a r e l i g i o u s b e l i e f i n a ' p u r e ' t r a d i t i o n a n d t h e n e c e s s i t y of p r o v i d i n g t h e ' b e s t ' a t t a i n a b l e f o r m of t h e m e l o d i e s f o r c o n t e m p o r a r y u s e . A n d c o n t e m p o r a r y u s e d o e s n o t s t a n d s t i l l . T h e g o a l o f m o r e r e c e n t l i t u r g i c a l r e f o r m is n o l o n g e r t h e ' A g e o f F a i t h ' w h i c h i n s p i r e d t h e efforts of the chant restorers, b u t rather still earlier centuries f r o m w h i c h n o l i t u r g i c a l m u s i c w i l l ever be recoverable. C h r i s t i a n s h a v e n o t u s u a l l y f o u n d it d i f f i c u l t t o w o r s h i p i n c h u r c h e s c o n t a i n i n g a r c h i t e c t u r a l elements of w i d e l y d i f f e r i n g age, a n d t h e l i t u r g y i t s e l f is a n a m a l g a m o f c o m p o s i t i o n s a n d c e r e m o n i a l of d i v e r s e o r i g i n s . T h e p l a i n c h a n t r e p e r t o r y , j u s t l i k e t h e r e p e r t o r i e s of p o l y p h o n i c m u s i c w h i c h d e v e l o p e d a l o n g s i d e i t , c o n t a i n s a m u l t i p l i c i t y of f o r m s a n d s t y l e s , a g a i n o f w i d e l y d i f f e r i n g o r i g i n a n o t h e r p o i n t w h i c h I h o p e has b e c o m e c l e a r i n t h e c o u r s e o f t h i s b o o k . A s f a r as i t s u s e i n m o d e r n w o r s h i p is c o n c e r n e d t h e r e is m u c h t o b e s a i d f o r t h e v i e w of S t G r e g o r y , g i v i n g a d v i c e to h i s m i s s i o n a r y A u g u s t i n e :

M y brother, you are familiar w i t h the usage of the R o m a n C h u r c h , i n w h i c h you were b r o u g h t u p . B u t if y o u have f o u n d customs, whether in the C h u r c h of R o m e or of G a u l or any other that m a y be more aceptable to G o d , I wish you to make a careful selection of t h e m , and teach the C h u r c h of the E n g l i s h , w h i c h is still y o u n g i n the F a i t h , whatever y o u have been able to learn w i t h profit f r o m the various C h u r c h e s . F o r things s h o u l d not be loved for the sake of places, but places for the sake of good things. T h e r e f o r e select f r o m each of the C h u r c h e s whatever things are devout, religious, and r i g h t ; and w h e n y o u have b o u n d t h e m , as it were, into a Sheaf, let the m i n d s of the E n g l i s h g r o w accustomed to it. (Bede, A History of the English Church and People, i . 27, trans. Sherley-Price, 73.)

T h a t w o u l d m e a n t h a t C a r o l i n g i a n c h a n t of the n i n t h c e n t u r y c o u l d t a k e its p l a c e b e s i d e r h y m e d s o n g s of t h e t w e l f t h o r a h y m n of t h e s e v e n t e e n t h c e n t u r y ; a n d , s i n c e t h e ' a u t h e n t i c i t y ' of t h e c h a n t is n o l o n g e r a n i s s u e , t h e s e l e c t i o n m a y b e m a d e o n g r o u n d s of r e l i g i o u s q u a l i t y a l o n e . T h e s e are, h o w e v e r , p r o b l e m s of l i t u r g i c a l p r a c t i c e , not m u s i c o l o g y , w h i c h is s u r e l y m a t u r e e n o u g h as a d i s c i p l i n e t o d i s t i n g u i s h b e t w e e n s c h o l a r l y a n d p r a c t i c a l c o n c e r n s i n t h e r e c o v e r y of o l d m u s i c . T h e p r o b l e m s f a c i n g c h a n t s c h o l a r s h i p are g r e a t e n o u g h w i t h o u t t h e a d d e d c o m p l i c a t i o n s of l i t u r g i c a l c o n t r o v e r s y . T h e y c o n c e r n a b o v e a l l t h e e n o r m o u s q u a n t i t y of p o t e n t i a l e v i d e n c e . W h a t are t h e r i g h t q u e s t i o n s to ask w h e n c o n f r o n t e d b y t h e h u g e n u m b e r s of l i t u r g i c a l m u s i c - b o o k s f r o m t h e n i n t h c e n t u r y to t h e p r e s e n t d a y ? H o w is t h e m a t e r i a l t o b e c o n t r o l l e d a n d i n v e s t i g a t e d ? E x a c t l y w h a t is t h e r e i n these b o o k s , o n l y a t i n y f r a c t i o n of w h i c h have been i n v e n t o r i e d ? W h a t d o e s it t e l l us a b o u t m a n as a r e l i g i o u s b e i n g a n d as a c r e a t o r of m u s i c ? C o m p a r e d w i t h t h e s e p r o b l e m s , t h e tasks w h i c h t h e r e s t o r e r s of t h e n i n e t e e n t h c e n t u r y set t h e m s e l v e s w e r e e s s e n t i a l l y s i m p l e , c o n c e r n e d w i t h b u t a p a r t of t h e c h a n t r e p e r t o r y , m i g h t y t h o u g h t h e l a b o u r s w e r e t h a t w e r e n e e d e d to c a r r y o u t t h o s e t a s k s . It is m y h o p e t h a t t h i s b o o k w i l l h a v e c o n v e y e d a sense not o n l y of past achievements b u t a l s o of t h e p r o b l e m s t h a t s c h o l a r s h i p s t i l l faces. B u t a b o v e a l l , I h o p e it has h e l p e d c r e a t e a n a w a r e n e s s of t h e i n e x h a u s t i b l e m u s i c a l r i c h e s of W e s t e r n p l a i n c h a n t .

INDEX OF T E X T A N D MUSIC INCIPITS

Citations in b o l d indi :ate a musical example. A solis ortus cardine, hymn 142, .1 summo celo, gradual 533-4 284 Alleluia In te Domine speravi Alleluia Levita Laurentius 5 529 134-5

Ad cenam agni, hymn 234 Ad dex tram pat lis, Agnus trope 233 Adjfesum accurrite, sequence 619-20 Ad laudem regis glorie, farsed lesson 592-3 Ad te Domine levari, offertory 123 Adam novas veterem, song in Fleury Pcrcgrinus play 270 Adest dies leticie, antiphon 2 7 6 - 7 Adiutorium nostrum, antiphon 91-2 Adoramus crucem tuam, antiphon 527 Adoma thalamum suum, processional antiphon 31, 102, 104 Adoro te devote, hymn 25 /let erne re rum conditor, h y m n 140, 281 Afjluens deliciis, sequence 195 Agios (Greek Sanctus) 162-4, (163), 528 Agios o Theos, Trisagion 36-7, 498, 528 . \gfiosca t om tie saeculum, h y m n 142 Agnus, O l d Roman 166-7 Agnus 15 232 Agnus 34 (Vatican X V I I ) Agnus 81a 233 Agnus 98 166 166-7

Alleluia Suptie facte sunt in ('hana Alleluia O kynos 4 3 0 - 1 , 5 2 9

Alleluia O Maria rubens rosa 138-9 Alleluia Ora voce pi a 138 Alleluia Ostende nobis 132, 181-3,182 Alleluia Alleluia Alleluia Alleluia Alleluia Alleluia Alleluia Oty theos 529 Paratum cormeum 538 Pascha nostrum 375-7, 379-80, 586 Quoniam Deus magnus 529 Surrexit Dominus et occurrens 134 \ em' sancte spirit us A'eni sponsa Christi 43 135-6

Alleluia Virga fesse floruit 137 Almafulgens, sequence 183 Alma redemptoris mater, Marian antiphon Alto consilio, Latin liturgical song 248 jbnen amen dico vobis, antiphon 464 Angeli eorum, antiphon 234 'Angelica', sequence melody 586 Angelis suis, gradual 533-4, 554

104-7

Agnus 101 (Vatican X V I I I ) 149, 166-7 Agnus 114 (Vatican IX) 167 Agnus 136 (Vatican IV) 167 Agnus 144 167-8 Agnus 164 (Vatican X V I ) 167-8 Agnus 209 (Vatican X V ) 167 Agnus 220 (Vatican XI) 166-7 Agnus 226 (Vatican II) 166-8, 167 Ales diei nuntius, hymn 142 Alias ores habeo, antiphon 473 Alleluia, antiphon 39 Alleluia V (Milanese) 546 Alleluia VI (Milanese) 546 Alleluia Ante t/iron urn trim tat is 137-8 Alleluia Attendile popule mens 133-4 Alleluia Beat us sanctus Martinus 134 Alleluia Christus resurgens 201 Alleluia Concussum est mare 203-4 Alleluia Confitemini Domino quoniam bonus 38, 420-1 . Mleluia C'///// esset Stephanas 134 Alleluia Dies sanctijicatus 131 Alleluia Dies sanctificatuslYmera agiasmeni 528 Alleluia Dominus dixit ad me 131-3 Alleluia Dominus regnavit decorem 529, 538 Alleluia Kgo sum pastor bonus 134 Alleluia Epi si kyrie 529 Alleluia Kxcita Domine 131

Angelorum ordo sacer, sequence 181 Angelas Michael, alleluia prosula 203-4 Anima nostra, gradual 80 Annua sancte dei, processional hymn 146 Aqua sapientiae, introit 221 Ardua spes mundi, processional hymn 146-7 Ascendente lesu in navim, antiphon 329 Ascendit Deus in iubilatione, offertory 126 Ascendit Simon Pe/rus, antiphon 327 Asperges me, antiphon 22, 148 Attende return, canticum 359 Audi index mortuorum, processional hymn 'Aurea', sequence melody 200 Ait)ea luce, hymn 234 Aurea lux terra, processional hymn 146 Aurea virga, sequence 153 Aurei nominis Maria, Marian antiphon 107 Ave beatigenninis, processional hymn 146 Ave gratia plena, processional antiphon 102 ,-Ave Maria, prayer 25 Ave mater salvatoris, Latin liturgical song 247 Ave regina caelorum, Marian antiphon 104-6 Ave virgo speciosa, verse 43 'Bavverisca', sequence melody 546 Be deu hoi tnais, song 248 Beati quos elegistis, antiphon 451 Beatus Andreas de cruce, rcsponsory Beat us die senus, antiphon 355 486

337

Beatus Nicholaus, responsory 206 Beatus venter, antiphon 451 Beatus Vincentius, antiphon 327 Beatus vir, antiphon 234 Beatus vir qui inventus, antiphon 329 Beaus peres, Sanctus trope 225 Benedic annua mea, offertory 535-6 Benedicam Dominum, offertory 126, 129 Benedicamus fiori orlo, Benedicamus 214 Benedicamus . . . Yerbi iungando cannina, Benedicamus 214-15 Benedicite Dominum, introit 372 Benedict a tu in mulieribus, antiphon 381 Benedict us es Domine, offertory 375 Benedict us es in finnamento, canticle 23 Benedictus es . . . in labiis, offertory 130 Benedixisti, offertory 201-2 Caeli caelorum laudate Deum, antiphon Candida concio, sequence 587 'Caput', melisma 36 Caritas Dei, introit 115 453

Credo Vatican IV ('Credo cardinalis') 171 Credo Vatican V 169 Credo Vatican VI 169 Credo Vatican VII 171 Crucem tuam adoremus, antiphon 37, 527 Crux benedicla nitet, hymn 142 Crux Jidelis, hymn (tfPange lingua) 37, 145-6 Cultor agri, antiphon 276, 278 Cum appropinquatet Dominus, processional antiphon 34,102 Cum audisset populus, processional antiphon 34, 102, 553-4, 555 Cum ergo, antiphon 327 Cum natus esset Dominus, processional hymn 146 Cum penrenisset beatus Andreas, antiphon 97-8 Cum repente, antiphon 327 Cum venerimus, processional antiphon Cum videret/vidisset, responsory 337 Cunctis diebus, antiphon 93-4 Currebant duo simul, antiphon 261 Curvati sunt, antiphon 553 Custodi nos, versicle with response 30 Custodiebant testimonia, antiphon 61 104

Cannen suo dilecto, sequence 387 Ce que Ysaies nos escrit, farsed lesson 237 'Chorus', sequence melody 178 Christ ist erstanden 225, 261 Chris te qui lux es, hymn 142-3 Christe redemptor, Kyrie trope 213 Christe redemptoromnium, hymn 234 Christifortis hie athleta, antiphon 406-7 Christ us fact us est, gradual 80 Christus manens, verse 43 Christus resurgens V . Dicant nunc Iudei, processional antiphon 104 Cist aigneaus, Agnus trope 225 Cito euntes, antiphon 254 Cives apostoiorum, responsory 337, 458 Clamaventnt iusti, gradual 81 Clangant cigni, sequence 178 Clara gaudia festa paschalia, sequence 586-7, 588 Clare sanctorum, sequence 200, 416-17, 440-1 Clans vocibus, sequence 173-5, 174 Claudius quidam, antiphon 329 Clemens rector, K y r i e trope 434-5 Coenae tuae mirabili, Milanese ingressa 527 Collegerunt pontifices, processional antiphon 34, 102 Commovisti, tract 83, 85 Concelebremus sacram, sequence 239 'Concordia', sequence melody 178 Confessio etpulchritudo, introit 5 Confirmation est cor, responsory 43 Congaudentes exultemus, sequence 189-91 Congaudentes iubilemus, Jube song 249 Convertiminiomnes, Milanese transitorium 542-3 Convocatis ergo, antiphon 327 Cordepatrisgenitus, Benedicamus song 43,224 ( Yedidipropter locutus sum, antiphon 87 Credimus in union Deum 169-70 Credo Vatican I 169 Credo Vatican II 169 Credo Vatican III 171

Da laudis homo, L a t i n liturgical song 246 Da nobisfamulis, offertory prosula 202 Da nobis potenti, offertory prosula 202 Data est michi, antiphon 258 Defructu openon tuomm, communion 473-4 De necessitatibus, tract 82 De sancte lohanne, sequence 178 De supernis affero nuntio, Latin liturgical song Dei sapient ia, Benedicamus song 242 Deprecantur te, rogation antiphon 102, 591 Descendit de celis, responsory 200 Desiderio desideravi, antiphon 93 Deus creator omnium, hymn 140 DeusDeus mens (Ps. 62) 488 Deus Deus mens, offertory 126 Deus Deus mens, tract 34, 82-3 Deus enimfinnavit, offertory 129 Deus in adiutorium meum, versicle with response 28,35,43,248 Deus in adiutorium meum, introit 449 Deus paterfilium suum, introit trope 221-2 Die nobis, sequence 586-7 Dicant nunc Iudei, see Christus resurgens Dicit Dominus implete, communion 119-20 Dies est leticie, song 225 Diffusa est gratia, responsory 120 Diffusa est gracia, communion 120 Dignare me, antiphon 381 Dilectus iste domini, introit trope 1979 Di lex it And ream, responsory 337 Diligite Dominion, antiphon 468 Dixit Dominus Domino meo, antiphon 451 Doctor bonus, responsory 337 Documentis artium, antiphon 276, 278 Domine qui operati, antiphon 464, 473 Domine spes sanctorum, antiphon 329 Domine audivi, tract 83

248

25-6,

Domine clanuivi ad te (Ps. 140) 488 Domine Deus meus, offertory 130 Domine exaudi, tract 83 Domine labia mea aperies, versicle and response 25 Domine non secundum, tract 44, 519 Domini est terra (Ps. 23) 45 Dominus legifer noster, antiphon 114 Dominus virtutum, communion 412-13 Dominus vobiscum, versicle with response 4 7 - 8 Domum is tarn, antiphon 327 Doxa en ipsistis theo (Greek Gloria in excelsis Deo) 158, 528 Dulce cannen, versus with double cursus 240 Dum delperambulant, responsory 337 Dum penderet, responsory 337 Dum transisset Sabbat urn, responsorv 39, 252, 261, 414-15 Duo homines, antiphon 327 E voces unisonas equat (Hermannus Contractus) Ecce annuntio vobis, antiphon 43 Ecce carissimi, processional antiphon 104 Ecce concipies, antiphon 327 Ecce iam Christ its, sequence 221 Ecce iam Johannes, introit trope 217-19 Ecce iam noctis, h y m n 143-4 Ecce lignum crucis, antiphon 36 Ecce oculi, introit 113, 115 Ecce pulchra, sequence 153 Ecce sacerdos, antiphon 451 Ecce sacerdos, gradual 80 Ecce vere Israeli ta, antiphon 449 Ego autem sicut oliva, introit 372 Ego sum alpha et co, processional antiphon 1034 Ego sum Dens, processional antiphon 101 Ego sum pastor bonus, antiphon 327, 329 Ego sum resurrectio, antiphon 45 Ego sum vitis vera, antiphon 87, 344 Eia nuncpueri, Benedicamus 214 Eia re col am us, seq u e nee 173-5, 234 Elegerunt aposloli, offertory 554 Emendemus in melius, antiphon 32 Emendemus in melius, responsory 271 En rex venit, processional hymn 34 Epiph a n iam dom it to, se q u e n c c 178 Etipe me, gradual 359 Enpeme, tract 8 2 - 3 , 519 Erubescant, communion 408-9 Erumpant montes, antiphon 451 Et intravit cum illis, antiphon 329 Et respicientes viderunt, antiphon 329 Eteme virgo memorie, responsory prosula Ex eius tumba, responsory 205 Exaltabo te, gradual 81 Exaltata es, antiphon 381 Exaudi nos Deus, antiphon 31 'Excita domine', sequence melody Exiit senno, gradual 80 181 396

Exsurge Domine non prevaleat, gradual 624-5 Exultemus in hac die, sequence 592 'Fabricae mundi', melisma 200, 316 Eac benigne, antiphon 327, 329 Eidelis seivus, antiphon 93-4, 327 Eidetn auge, Paternoster farse 238 Einnetur manus tua, processional antiphon 44 Flete fideles animae, Lament of Mary 266 'Flos filius', melisma 214 'Francigenae', Milanese melodiae 545-6 'Frigdola', sequence melody 178 Eulgens preclara, sequence 181 Eundatnentum aliud, antiphon 4245 Gaude eia unica, sequence 178 Gaude et let are, Milanese transitorium 542 Gaude felix parens Yspania, antiphon 276-7 Gaude Mana, responsory 207 Gaude Maria virgo, antiphon 381 Gaudeamus omnes, antiphon 94-6, 95 Gaudeamus omnes, O l d Beneventan ingressa Gaudent in celis, antiphon 581 Gaude te in Domino semper, introit 4567 Gloria 2 158-9 Gloria Gloria Gloria Gloria Gloria Gloria Gloria Gloria 5 11 13 22 23 24 25 38 160 (Vatican X I V ) 224 (Vatican ad lib. II) 158 (Vatican ad lib. I l l ) 158 (trope Spirit us et alme) 161 (Vatican ad lib. I) 159 (Vatican V) 158-9 (Vatican VIII) 158 550

Gloria 39 ('Gloria A') 157-8, 200, 209, 224, 228-30 Gloria 39 trope Laus tua Deus . . . Sapientia Dei patris 422-3 Gloria 43 (Vatican X V ) 158 Gloria 51 (Vatican X I ) 158 Gloria 56 (Vatican IV) 158, 208-9, 224 Gloria A , see Gloria 39 Gloria in excelsis Deo, antiphon 263 Gloria laus et honor, processional hymn 34, 146, 486 Gloria . . . Eater e tern us, doxology prosula 334 Gloria . . . Oitetti glorificant celi, doxology prosula 334 Gloriosa sanctissimi, office 275 Gregonuspraesul 223, 503, 507, 509-11 Gregorius vigiliis, antiphon 276 Gustate et videte, communion 116, 410-11 Hac est data dies, verse 43 Haecdies, gradual 2 9 - 3 0 , 7 7 I lane concordi famulatu, sequence 178 Hec aula accipiat, antiphon 424-5 Ilec est quern nescivi, antiphon 327 Ilerodes enitti, antiphon 934 lieu hen hen quo casu sort is, lament of Daniel in Ludus Danielis 272 Hi sunt secuti, responsory 4 3 6 - 7 Hie est discipulus, antiphon 93-4 Ilie verus Dei famulus, song in End us Danielis 270-1 'Hicronima', sequence melody 178

207

Expandi manus, responsory 337 Exsultabunt sancti, gradual 79, 358 Exsurge Domine feropem, gradual 612

I Iodic cantandus est, introit trope 222-3, 418-19 I Iodic dominus Iesus Christus, sequence 183 I Iodic exultent iusti, introit trope 586-7 I Iodic in facta virgo, antiphon 43 'Hodie Maria virgo', sequence melody 153 Hodie resurrexit leo fortis, introit trope 586 IIodic sun-exit leo fortis, Benedicamus 214-15 Itodierne lux diei, sequence 191, 192, 193 Homo Dei, responsory 337 Homo quidam, antiphon 327 Ilosanna filio David, antiphon 34 Ilosoi eis Christon, Byzantine baptismal chant 529 I lost is Ilerodes impie, hymn 142 Humanum genus, Agnus trope 233 Jlumili piece, processional hymn 146-7 Hymnum canite, communion 551 lam lucis ortu sidere, hymn 8 lam surgit hora tertia, hymn 140 Immutemur habitu, antiphon 31 In conspectu angelorum, offertory 299 In die quando, processional antiphon 104 /;/ die resurrectionis mee, processional antiphon 430-1 In die sollempnitatis, offertory 123-4 /// eodem namque, antiphon 327 In exitu Israel {Ps. 113) 64 In Hiemsalem, offertory prosula 579 In medio ecclesie, introit 197-9, 216, 218-19 In medio ecclesie, responsory 200 /;/ omnem terrain, gradual 79 In paradisian, antiphon 45 In virtute, offertory 554 Incomparabiliter cum iocunditate, song 283 Ingrediente Domino, processional antiphon 34 Intuens in celum, responsory 72 Inventor rutili, processional hymn 38, 142, 319, 554 Inviolata integra, responsory prosula 207 Invocavit me, introit/ingressa 547-8 Iste confessor, hymn 144 Isle sanctus pro lege Dei, antiphon 329-30 lubilale Deo omnis terra, offertory 125 Jubilate Deo universa terra, offertory 124-6, (125), 128-30,(129) Jubilate Domino, tract 83-4, 371 Iubilemus cordis voce, song 270 Iubilemus regi nostro, song in Ludus Danielis 270 Iuravit Dominus, gradual 81 Justus es Domine, introit 456-7 Justusgenninabit, antiphon 327 Justus non conturbabitur, gradual 377-8 Justus ut palma, gradual 77, 533, 626 'Iustus ut palma', sequence melody 173 Jacobe virginei jrater, responsory 278 Jerusalem Jerusalem, antiphon 327 Johannes Jesu Christo, sequence 286, 586 Jube domne benedicere, versicle 249-50 Kyrie 7 155 K y r i e 39 (Lux et origo, Vatican I) 28, 152, 155, 627 K y r i e 47 (Vatican VI) 152

Kyrie 48 (Kyriefons bonilalis, K y r i e 52 155 Kvrie VI) Kvrie Kyrie Kyrie Kyrie Kvrie Kyrie Kvrie 434 Kvrie Kvrie

Vatican II)

155, 211-12

55 (Te Christelpater supplices, Vatican ad lib. 152-3, 1 5 5 , 2 1 0 , 2 1 1 , 2 1 3 , 4 3 4 - 5 68 (Vatican X I V ) 152-4,154 74 418-19 77 155 84 155 95 (Vatican V I I I , ' d e angelis') 155,158,171 97 156 102 (Clemens rector, Vatican ad lib. I) 152, 155, 124 139 152, 156 155 152, 155

Kvrie 142 K v r i e 144 Kyrie Kvrie Kyrie Kyrie Kyrie Kyrie

155

151 (Vatican X V I I I ) 152,155 155 (Vatican X V ) 152-5,154 171 (Vatican IX) 438-9 Auctor celorum 155 Devote canentes 151, 155 'de angelis', see K y r i e 95

Laeta lux est hodie ma, sequence 584 Lxipidabant Stephanum, responsory 72 JMuda Sion salvatorem, sequence 192 'Laudate D e u m ' , sequence melody 181 Laudate Dominion, tract/canticum 38 Jxutdate Dominum quoniam, offertory 579 iMitdate Dominion de cell's, antiphon 453, 500 Laudate pueri (Ps. 112) 61 Laudes crucis attolamus, sequence 192, 194 Laudes Deo, sequence 178 Laudes Deo dicam persecula, epistle farse 236-7, 249, 283 iMiides omnipotens, processional hymn 146 Ixiudum cannina, sequence 178 txiurenti David magni martyr, sequence 586 I MUS tua, Gloria trope 200 IA'tabundi iubilemus, Latin liturgical song 243-4 I'jetabundus decaniet, sequence 584 Ix'tabundus exultet jidelis chorus, sequence 43, 192, 234 lA'temurgaudiis, offertory prosula 43, 204 IvClo aninio, antiphon 327 Liber carnis vinculo, antiphon 277 Libera me Domine, responsory 45 Lignum vite, antiphon 329 Linguam refrenens temperet, didactic song 4 2 6 - 7 Lumen adrevelatiouem gentium, antiphon 31 Lumen eternum, Sceptrum prosula 228-30 Lutum fecit, communion 512 Lux de luce, sequence 183 Lux hodie, verse 43 Lux omni festa populo, Benedicamus song 2 4 2 - 3 ' L y r a ' , sequence melody 153 Magi veniunt, processional antiphon 265 Magister dicit, antiphon 93 Mandatum novum, antiphon 34, 35 Mane prima sabbati, sequence 192 Maria ergo, antiphon 327

Mana Magdalena, antiphon 261 Martyr Chtistigratia, Hosanna prosula 225, Metnor sit Dominus, offertory 554 Metitibus intentis, introit trope 285 Mercenarius est, antiphon 329 Mento heipatimur, responsorv 271 'Metensis maior', sequence melody 546 Misi digit urn, antiphon 258 Mitte manum tuam, communion 118-19 Modicum et non videbitis, antiphon 94-5 Mox ut vocem, responsory 337 Malta quidem, antiphon 329 ' M u s a ' , sequence melody 586 Musicorum et can forum, didactic rhyme 523

230-1

Oportet te, communion 512 Oravit sanctus Andreas, responsory 337 Organicis canamus modulis, sequence 173, 175, 178 Orientispartibus, Latin liturgical song 43 'Ostendc (minor)', sequence melody 182, 221 'Ostende (maior)', sequence melody 200

176,

Pangat simuleia, sequence 178-9 Pange linguaglotiosi corporis mysterium, hymn 145 Pange lingua glotiosi proelium certaminis, processional hymn 25, 35, 37, 142, 144-6, (145), 239, 282, 284, 486 Paradisiporte, antiphon 381 Paranytnphus salutat virginem, sequence 192, Pascha nostrum, communion 118-19, 398 Past is visceribus, h y mn 142 Pastor bonus, antiphon 327 Patefacte sunt ianue cell, responsory 72 Pax in terris nunciatur, Latin liturgical song Paxvobis, antiphon 259 193

Xato canunt omnia, sequence 234 Xatusest, natusest, Latin liturgical song 245 Xatus ante secula, sequence 234 Xe avert as, gradual 79 Xemo te condemnavit, communion 512 Xesciens mater, antiphon 43, 94 Xigra sum, antiphon 93-4 'Nobilissima', sequence melody 586 Xon vos demergat, processional antiphon 101 Xos auteni glorian, introit 408-9 Xos pueri iubilo, introit trope 285 Xos qui vivimus, antiphon 63-4 Xostrifestigaudium, Latin liturgical song 249 Xotum fecit Dominus, antiphon 63, 87 Xunc clericorum concio, Latin liturgical song 248-9 Xunc fratres enesis, introit trope 285 Xunquid Dari obsetvati, from Ludus Danielis 272

263

Peccavimus Domine, rogation antiphon 591-2 Petpeluo nutnine, Sanctus trope 234 Petrus autem setTabatur, antiphon 329 Petrus donniebat, O l d Beneventan ingressa 550 Pisteuo eis ena theon, Greek Credo 528 Planet us ante nescia, Lament of Mary 266 'Planctus cigni', sequence melody 178, 188 Plangant cigni, sequence 178 Plebs Domini hac die, Latin liturgical song 246-7 Popule mens, respond 36-7 Populus gentium, chapter 43 Portio mea, antiphon 87 Populus Sion convertimini, processional antiphon Post partum virgo, antiphon 381 Post sex annos, responsory 278-9 Postquam celorum Dominus, Benedicamus song Potest ate non natura, sequence 592 Precamur nostras, sequence 181-3, (182) Pre co novuset celicus, antiphon 277 Precursor Christi, sequence 591 Primo die rum omnium, hymn 143 Primum mandatum amor Dei est 331 Prim urn quetite regnum Dei 331-2 Pro cunctis deduct us, Agnus trope 232 Pro eo quod non credidisti, antiphon 94-5 Probavit, introit 599 Prosperum iterfacial, introit 554 Psalle modulamina, alleluia prosula 201 Psallite regimagna, introit trope 217 Puernatus nobis est, introit 221-3, 399, 418-19 Pueri Piebreorum portantes, processional antiphon 34 PueriHebreorurn vestitnenta, processional antiphon 34 Pura deum, sequence 178-9 327 101

O admit abile commercium, antiphon 95-6, 464 ()\donay, an t i ph on 98 O amnos tu then, Greek Agnus Dei 528 O beatalbona crux, responsory 337 () beat urn pontijicem, antiphon 463-4 () beatum presulem, responsory 4 0 6 - 7 () crucifer bone, hymn 142 O crux benedict a, processional antiphon 318 0gloria sanctorum, Gloria trope 208-9, 224 () laudabilis rex, Gloria trope 224-7, 228-30 O mater nostra, responsory 207 O quaudo in cruce, antiphon 527 O Radix Iesse, antiphon 98 () redemptor same cannen, hymn 35 O rex glorie, Regnu m prosu 1 a 208-9 O sancte Dei apostole, responsory 599-600 O Sapientia, antiphon 98 O virgo virgiiiutn, Marian antiphon 105 'Occidentana', sequence melody 546 Octo sunt beatitudines 332 Oculimei, introit 221, 449 Omnes de Saba, gradual 616-18, (617) Omnes qui in Christo, offertory/communion 525, Omnes tua gratia, Hosanna prosula 225, 230-1 Omni tempore, antiphon 329 Omnipotent tern semper adorant, canticle 23 Oportet devota inetite, responsory prosula 206

270

Ouando natus est, antiphon 529

Quart a vigilia venit ad eos 332 Quasi unus, antiphon 327 Que mulier habeas, antiphon 956 Quern creditis super astra ascendisse 255 Quern ethera et terra, responsory prosula 207 Quern quetitis in presepe 254-5, 264

Quern queritis in sepulchm 223, 250-5, (253), 263, 267, 414-15,519,585-6,602 Quern terra pantus aethera, hymn 142 Quern verepia laus, Gloria trope 452 Qui bibetit, comm u n ion 512 Qui de terra est, antiphon 43, 327 Qui dicit patri, introit trope 586-7 Qui habitat, tract 82-3 Quipurgas animas, sequence 591 Qui regis sceptra, sequence 181 Quia vidistime, antiphon 258-9 Quid tu virgo mater, sequence 265 Quidam homo fecit, antiphon 329 Quinque prudentes intraverunt 332 Quis dabit ex Sion, communion 355-6 Quomodofiet, antiphon 451 Quoniam Deus magnus, invitatory antiphon 99 Reges Tharsis, offertory 123, 619-20 Regina caeli, Marian antiphon 104, 106 Regnum tuum solidum, Gloria trope verse 199-200 Repleatur os meum, introit 372 Requiem etemam, versicle 45 Resonet in tone t, Latin liturgical song 249 Respire Domine, introit 221 Resurrexi, introit 197, 216-17, 252-3 Resurrexit Dominus, short responsory 87 Revelabiturgloria Domini, communion 532 Rex benedicte, processional hymn 146 Rex caeli domine, versus with double cursus 240 Rex omnipotens, sequence 234 Rex sanctorum angelorum, processional hymn 38 Rex splendens, K y r i e trope 581 'Romana', sequence melody 586 Sacerdotes tui, introit 115 Sacrata libri dogmata, processional hymn 146 Sa lu s a u tern, i n t r o i t 457 Salus etenia, sequence 200 Salvator mundi salva nos, antiphon 37 Salve crux, responsorv 337 Salve festa dies, hymn 43, 142, 146,269 Salve lacteolo decora turn, processional hymn 146 Salve regina, Marian antiphon 104, 106-7 Salve sancta parens, introit 281 Salve virgo virginum, Regnum prosula 209 Salve virgo singularis, Latin liturgical song 264 Sancta legio Agaunensis, antiphon 327 Sancte crucis celebremus, sequence 183-4 Sancte Johannes meritonun tuorum, didactic chant 426-7 Sancte Paule pastor bone, versus with double cursus 239-41 Sancti baptist e, sequence 173, 175, 177, 178 Sancti qui sperant, antiphon 327, 329 Sancti spiritus, sequence 234 Sanctificavit Moyses, offertory 554, 556-7 Sanctorum mentis, hymn 145 Sanctum diem celebremus, sequence 184 Sanctus 32 (Vatican X V I I ) 162 Sanctus 41 (Vatican X V I I I ) 161-2

Sanctus 49 (Vatican IV) 162 Sanctus56 (Vatican III) 230-1 Sanctus 66 163 Sanctus 68 164-5 Sanctus 89 163 Sanctus 98 164-5 Sanctus 111 163 Sanctus 116 (Vatican V I M ) 162 Sanctus 154 (Vatican I) 163 Sanctus 155 163 Sanctus 177 (Vatican X I I ) 162 Sanctus 202 (Vatican X I ) 162 Sanctus 203 (Vatican II) 162 Sanctus 216 163-4 Sanctus 223 (Vatican X V ) 162-3 Sanctus Deus angelorum, antiphon 498 Sapientia magnificat, antiphon 327 Scapulis suis, offertory 537 Scitote quia prope est, antiphon 61 Secundum autem simile est huic 332 Secundum magnam misericordiam, antiphon 91-2 Sedit angelus, see Stetit angelus Sep tern sunt spiritus 332 Serve bone et fidelis, antiphon 329-30 Sexto hora sedit superputeum 332 Si in digito Dei, antiphon 329 Si oportuerit me mori, antiphon 329 Si quis diligit me, antiphon 329 Si vere fratres, antiphon 533, 535 Si cut cenus, tract 82 Simon Petrus, antiphon 327 Sinitepanulos, antiphon 264 Sitivit in te, antiphon 91-2 Solve iubente Deo, antiphon 274 Somno refect is artubus, hymn 142-3 Sospes nunc efficitur, responsory prosula 205 Sospitati dedit egros, responsory prosula 205-6 Specie tua, antiphon 534-5 Speciosa facta es, Marian antiphon 105-6 Sperent in te, Milanese responsorium cum infantibus 544-5 Spiritus et alme, Gloria trope 161, 223 Stans a longe, sequence 234 Stans beat a Agatha, antiphon 97-8 Stans beata Agnes, antiphon 97-8 Stat nil ei Dominus, introit 450, 599 Stetit angelus V . Crucifixion in came, processional antiphon 104 Stetit angelus, offertory 299 Stirps Iesse, responsory 214 Stola iocunditatis, sequence 192 Sub alt are Dei, responsory 265 Sub tuum presidium, Marian antiphon 105 Subvenite sancti Dei, responsory 45 Sum mi triumphum regis, sequence 522 Superfhonina, offertory 123, 129 Super te Jerusalem, short responsory 86 Surgepropera, O l d Beneventan ingressa 550 Surrexerunt autem, antiphon 327 Sunvxit Christus hodie, song 225 Sun-exit Dominus, communion 118-19

Surrexit Dominus de sepulchro, antiphon 254, 258-60 Surrexil enim sieut dixit, antiphon 254 Suscepimus Deus, introit 4 5 6 - 7 Suscipe clementem plebs, processional hymn 146 Tantum ergo sacramentum, hymn 25-30

Te decet laus, hymn 27 Te laudamus, Milanese transitorium 542 Te pater supplices, K y r i e trope 434-5 Tecum principium, gradual 77-9, (78) Tellus ac elhra, processional h y m n 239 Tempora florigero, poem 224 Tenemus ecce an?ia, antiphon 327 Tenibilis est, introit 45 Terribilis rex alme, sequence 181 Tertia dies est quod haec facta sunt 332 Thesaurus nove grade, Benedicamus song 246 Tibi dixit cor meum, introit 449 Tibi laus perennis auctor, h y m n 142 Timete Dominum, introit 114 Tolle anna tua, responsory 99 Tollite portas, antiphon 45, 327 Tollite portas, gradual 77 Tollite portas, offertory 126-8 Tria sunt munera, processional antiphon 265 Trinitas deitas, Sanctus prosula 209 Trinitatis thalamum, Marian antiphon 108 Tu autem Dotnine, versicle 248 Tu Bethleem, antiphon 329 Tuam crucem adoramus, antiphon 329 Unxerunt Salomonem Sadoch sacerdos, antiphon 44 Urbs beata Ierusalem, hymn 234 Ut queant taxis, didactic hymn 467

Vadit propitiator 529 Yalde honorandus est, antiphon 533, 535 Valerius igitur, antiphon 327 Veni doctor previe, organum 43 Veni redemptor gentium, hymn 140 Venit ad Petrum, antiphon 36 Venite et videte, antiphon 254-5 Yenite post me, responsory 337 Venite venite, antiphon 35 Yerbum cam factum est, responsory 207 Verbum patris hodie, Benedicamus song 264 Yerbum supermini, hymn 234 Yeterem hominem, antiphon 525, 530 Vex ilia regis, h y m n 142, 144, 284 \'ictimae paschali laudes, sequence 189-90, 260-1, 284 Videbant omnes Stephanum, responsory 72 VidenslVidit crucem, responsory 337 Videns Dominus, communion 512 Yidens Rome vir beat us, responsory 275 Video virum, antiphon 327 Viderunt omnes, gradual 81 Videsne Elisabeth, Milanese ingressa 527 Vidiaquam, antiphon 22, 148 Viriste, responsory 337 Virgin is proles, hymn 144 Virgo hodie fidelis, antiphon 43, 94 Virgo verbo concepit, antiphon 43 Vocem iocunditatis, introit 372-3 Vocivita, Sanctus prosula 209

Zachee festinans descende, antiphon 45

INDEX OF MANUSCRIPT AND PRINTED SOURCES

Citations in b o l d indicate facsimile and partial Aachen, Bischofliche Diozesanbibliothek 13 313 Aachen, Dombibliothek 20 87, 91-3 Abbeville, Bibliotheque Municipale 7 411 Aberystwyth, National Library of Wales 20541 E 584 A l b i , Bibliotheque Municipale 44 303, 321, 596-7 Angers, Bibliotheque Municipale 91 624 Angers, Bibliotheque Municipale 97 179 Angers, Bibliotheque Municipale 144 586 Annecy, privately owned manuscript 275-6 Antiphonale missarum (Milan) 541, 556-7 Antiphonale monasticum 62, 257, 289, 309, 397 Antiphonale Romanum 62, 289, 309, 341, 401, 627 Antiphonale Rom an um (Ratisbon, 1878) 624 Antiphonale Satisbuiiense (Cambridge, University Library M m . 2 . 9 ) 48, 66, 93, 106, 114, 120, 206-7, 303,535 'Antiphoner of Charles the Bald', see Paris, Bibliotheque Nationale, lat. 17436 Aosta, Seminario Maggiore 9 . E . 19 250 A p t , Cathedrale Sainte-Anne 17 313, 598 A p t , Cathedrale Sainte-Anne 18 313, 598 Assisi, Biblioteca Comunale 695 57-8, 192-3 Baltimore, Walters A r t Gallery M . 6 320, 589 Bamberg, Staatsbibliothek lit."5 328, 330, 570 Bamberg, Staatsbibliothek lit. 6 295, 313, 347, 373 Bamberg, Staatsbibliothek lit. 23 303, 337-8 Bamberg, Staatsbibliothek lit. 25 99 'Bangor Antiphonary' 157,553 Barcelona, Biblioteca de Catalunya M.662 205, 603 Barcelona, Corona de Aragon 99 603 Bari, Biblioteca Capitolare 1 313 Bayeux, Bibliotheque Municipale 121 42 Bedero di Val Travaglia, San Vittorc B 540 Benevento, Archivio Capitolare 19-20 589 Benevento, Archivio Capitolare 21 303, 337-8, 589 Benevento, Archivio Capitolare 22 589 Benevento, Archivio Capitolare 29 428-9 Benevento, Archivio Capitolare 33 295, 319-20, 352, 551, 589-90 Benevento, Archivio Capitolare 34 122, 126-8, 150, 233,241,295,313,352,589 Benevento, Archivio Capitolare 35 233 Benevento, Archivio Capitolare 38 161, 549, 551-2, 589 Benevento, Archivio Capitolare 39 589 Benevento, Archivio Capitolare 40 549, 589 Berkeley, University Library 748 ('Wolffheim Antiphonal') 389 Berlin, Staatsbibliothek PreuBischer Kulturbesitz, Mus.ms.40047 303, 570

transcription.

'Blandiniensis', see Brussels, Bibliotheque Royale 10127-10144 Bodmer, M . , private manuscript collection of, see Cologny 'Bohn Codex', see T r i e r , Stadtbibliothek 2254 Bratislava, City Archives, E C . L a d . 3 , E L . 18 and other fragments (Missale not a turn Strigoniense) 607 295, 319,

Brussels, Bibliotheque Royale 2750-65 459 Brussels, Bibliotheque Royale 10127-10144 ('Blandiniensis') 185, 290, 296, 298, 509-10 Brussels, Bibliotheque Royale 11.3823 575 Burgos, Monasterio de Las Huelgas 284

Cambrai, Bibliotheque Municipale 61 151, 153-4, 189 Cambrai, Bibliotheque Municipale 75 221, 528, 586 Cambrai, Bibliotheque Municipale 78 180 Cambrai, Bibliotheque Municipale 164 292, 509 'Cambridge Songbook', see Cambridge, University Library G g . 5 . 3 5 Cambridge, Corpus Christi College 391 ('Portiforium of StWulstan') 13-16,312 Cambridge, Corpus Christi College 473 163, 216, 254, 386-7,582 Cambridge, Fitzwilliam M u s e u m 369 54, 322, 575 Cambridge, Magdalene College, F.4.11 320 Cambridge, University Library Ff.1.17 41, 249, 269 Cambridge, University Library Gg.5.35 ('Cambridge Songbook') 239 Cambridge, University Library Ii.4.20 322 Cambridge, University Library LI.2.10 405, 424-5 Cambridge, University Library M m . 2 . 9 584; see also Antiphonale Safisbun'ense Cambridge, University Librarv, A d d . 710 ( ' D u b l i n Troper') 313, 584 " Cantus selecti 105, 211 'Carmina Burana', see M u n i c h , Bayerische Staatsbibliothek, elm 4660a Chartres, Bibliotheque Municipale 47 180, 185-6, 295, 299, 313-14, 334, 347, 349, 351, 355-6, 362-3, 379,383 Cividale, Museo Archelogico Nazionale C I 266 'Codex Albensis', see Graz, Universitatsbibliothek 211 'Codex Calixtinus', see Santiago de Compostela Colognv, Biblioteca Bodmcriana C . 7 4 (olim Phillipps 16069) 150, 1 6 6 - 7 , 2 9 5 , 3 1 3 , 3 5 2 , 3 8 9 , 531,594 'Compcndiensis', see Paris, Bibliotheque Nationale, lat. 17436 'Corbiensis', see Paris, Bibliotheque Nationale, lat. 12050

Darmstadt, Hessische Landes- und Hochschul bibliothek 1946 295 ' D i j o n Tonary', see Montpellier, Faculte de Medecine H.159 D i j o n , Bibliotheque Municipale 114 322, 609-10 Donaueschingen, Furstlich P^iirstenbergische Hofbibliothek 882 317 D o u a i , Bibliotheque Municipale 90 578 D o u a i , Bibliotheque Municipale 114 578 ' D u b l i n T r o p e r ' , see Cambridge, University Library, Add.710 D u r h a m , Cathedral Chapter Library B.III.11 303, 337-8 Diisseldorf, Universitatsbibliothek D . l 293, 347-9 E d i n b u r g h , University Library 33 405, 438-9 E d i n b u r g h , University Library 123 278-9 Eichstatt, Bischofliches Ordinariatsarchiv, pontifical of Bishop Gondekar II 328 Einsiedeln, Stiftsbibliothek 79 328 Einsiedeln, Stiftsbibliothek 121 198, 295, 347, 355-6, 373-6 Einsiedeln, Stiftsbibliothek 366 310 Erlangen, Universitatsbibliothek 464 225 Erlangen, Universitat, Institut fur Musikwissenschaft s.n. 603 'Fleurv Playbook', see Orleans, Bibliotheque Municipale 201* Florence, Biblioteca Magliabecchiana F.3.565 374 G i r o n a , Sant Feliu 20 352 G n i e z n o , A r c h i w u m Archidiecezjalne 149 295 Graduate Romamtm 121, 148, 289, 341, 383, 397-8, 401,411,627 Graduate Romanian 624-5 (Ratisbon, 1898) 397-8, 616-17,

'Jacobus', see Santiago de Compostela Karlsruhe, Badischc Landesbibliothek, Aug.pcrg.60 63,65,390 Klosterneuburg, Stiftsbibliothek 1000 310 Klosterneuburg, Stiftsbibliothek 1013 71-3 Kyriale seu ordinarium missae 148, 627 61,

L a o n , Bibliotheque Municipale 107 363 L a o n , Bibliotheque Municipale 1 18 325, 333, 571 L a o n , Bibliotheque Municipale 239 295, 299, 347, 3 4 9 50, 355-6, 358-9, 362-3, 373-9, 383, 385, 41 1, 585 L a o n , Bibliotheque Municipale 263 41, 180,210-12, 234-6, 238, 333-4 'Las Huelgas manuscript', see Burgos, Monasterio de Las Huelgas L e Havre, Bibliotheque Municipale 330 319 'Lectionary of Luxeuil', see Paris, Bibliotheque Nationale, lat. 9427 Leipzig, Universitatsbibliothek Rep. 1.93 347-8, 459 Leipzig, Universitatsbibliothek 391 295 Leipzig, Universitatsbibliothek 1492 325 'Lcofric Collectar', see L o n d o n , British Library, Harley 2961 'Leofric Missal', see Oxford, Bodleian Library, Bodlcy 579 L e o n , Catedral 8 352, 501, 556-7 ' L i b e r ordinum', see M a d r i d , Real Academia de la Historia 56 ' L i b e r Sancti Jacobi', see Santiago de Compostela, unnumbered manuscript Liber antiphonarius 626 Liber gradual is 624, 626-7 Liber hymnarius 397, 628 Liber responsorialis 67, 70, 104, 626 Liber usualis 2, 49, 62, 70, 121, 148, 289, 309, 383, 409, 411,627 Liber vesperalis (Milan) 541 Limoges, Bibliotheque Municipale 2 225, 237-8 L o n d o n , British Library, A d d . 10335 405, 426-7 L o n d o n , British Library, A d d . 12194 292, 301-2, 584; see also Graduate Sarisburiense L o n d o n , British Library, A d d . 17302 L o n d o n , British Library, A d d . 19768 17, 441 L o n d o n , British Library, Add.22514 L o n d o n , British Library, Add.23935 L o n d o n , British L i b r a r y , Add.29988 538 405, 432-3 347-8, 405, 416283 322, 612 405, 430-1, 531,

Graduate Sarisburiense ( L o n d o n , British Library, A d d . 12194) 52, 150,211 Graduate triplex 383,401 Graduel de Pans (1754) 619 Graduel romain (Marseilles, 1872) 171, 397-8 Graduel romain (Paris, 1 8 7 4 R e i m s - C a m b r a i edition) 623, 625 G r a z , Universitatsbibliothek 211 ('Codex Albensis') 303,607 Graz, Universitatsbibliothek 756 ('Seckau Cantionarium') 250 G r a z , Universitatsbibliothek 807 122, 126, 198,222-3, 295, 390, 421 'Hartker Antiphoner', see St G a l l , Stiftsbibliothek 390391 Heiligenkreuz, Stiftsbibliothek 20 310 Hereford, Cathedral Chapter Library P.9.vii 388 Hereford, printed breviary of 1505 320 Hereford, printed missal of 1502 319 Huesca, Catedral 4 603 Ivrea, Biblioteca Capitolare 60 217, 585 Ivrea, Biblioteca Capitolare C V I 303, 337-8

L o n d o n , British Library, Add.30848 305, 602 L o n d o n , British Library, Add.30850 303, 305, 328, 337-8, 351, 405, 414-15, 602-3 L o n d o n , British Library, Add.31384 433 L o n d o n , British Library, Add.34209 352, 540, 543, 545-6,548 L o n d o n , British L o n d o n , British L o n d o n , British L o n d o n , British L o n d o n , British L o n d o n , British Library, Library, Library, Library, Library, Library, Add.35285 323 Add.36881 41, 247 Add.49363 322 Arundel 156 405, 420-1 Cotton Caligula A . x i v 217 Egerton 857 405, 410-11

London, London, London, London, London, London,

British British British British British British

Library, Library, Library, Library, Library, Library,

Egcrton 2615 41, 270-2 Egerton 3511 405, 428-9 Egcrton 3759 174 Harley 110 405, 412-13 Harley 1117 405, 406-7 Harlev2961 ('Leofric

Collectar') 312 L o n d o n , British Library, Harley 4951 597 L o n d o n , British Library, printed book IB.8668 405, 417,440-1 L o n d o n , British Library, Royal S . C . x i i i 405, 422-3 ' L u c c a Antiphoner', see Lucca, Biblioteca Capitolare 601 L u c c a , Biblioteca Capitolare 490 298, 304, 507, 510 L u c c a , Biblioteca Capitolare 601 ('Lucca Antiphoner') 7 3 , 8 6 , 9 4 - 5 , 9 7 , 352, 464, 468 'Lytlington missal', see Westminster Abbey M a d r i d , Real Academia de la Historia, A e m i l . M a d r i d , Real Academia de la Historia, A e m i l . M a d r i d , Real Academia de la Historia, A e m i l . ordinum') 558-9 M a d r i d , Biblioteca Nacionale 288 41, 201-2, 16, 328 18 602 45 602 56 ('Liber 243, 315105-6,303,305-7,

Monza, Basilica S. Giovanni C I X ('Modoetiensis') 298, 510-11 Monza, Basilica S. Giovanni C . 12/75 303, 305, 328, 337-8,585 Monza, Basilica S. Giovanni C . 13/76 585, 587 Monza, Basilica S. Giovanni C . 15/79 305 'Moosburg Gradual', see M u n i c h , Universitatsbibliothek 2 156 Mount Sinai, monastery of St Catherine, Gr.567 492 M u n i c h , Baycrische Staatsbibliothek, elm 705 584 M u n i c h , Baycrische Staatsbibliothek, elm 4660a ('Carmina Burana') 257, 267, 269 M u n i c h , Baycrische Staatsbibliothek, elm 9543 201, 363 M u n i c h , Bayerische Staatsbibliothek, elm 14272 328, 470 M u n i c h , Baycrische Staatsbibliothek, elm 14322 315 M u n i c h , Bayerische Staatsbibliothek, elm 14523 471 M u n i c h , Bayerische Staatsbibliothek, elm 14843 586 M u n i c h , Baverische Staatsbibliothek, elm 14965b 396, 468-9 M u n i c h , Bayerische Staatsbibliothek, elm 18937 471 M u n i c h , Universitatsbibliothek 2 156 ('Moosburg Gradual') 55, 139, 160, 195, 250 Naples, Biblioteca Nazionale VI . E . 11 433 Naples, Biblioteca Nazionale V I . G . 3 4 589, 591-3 Naples, Biblioteca Nazionale V I . G . 3 8 595 Naples, Biblioteca Nazionale V I I I . D . 14 325 Norwich, Castle M u s e u m 158.926.4e 319 Offertoriate triplex 121

M a d r i d , Biblioteca Nacionale 289 41, 242-3, 245-6, 249 M a d r i d , Biblioteca Nacionale 19421 41, 191, 208-9, 223,225,230-1,243 M a d r i d , Biblioteca Nacionale V . 2 0 - 4 255-60 M a d r i d , Palacio Real 429 602 M a i n z , printed gradual of 1500 417, 440-1 Manchester, John Rylands Library lat. 24 584 Metz, Bibliotheque Municipale 83 609-10 Metz, Bibliotheque Municipale 351 304, 325, 329, 570 Metz, Bibliotheque Municipale 461 609 Michaelbeuern Cart. 1 284 M i l a n , Biblioteca Capitolare F.2.2 540 M i l a n , Biblioteca Trivulziana 347 310 M i l a n , Sant'Ambrogio M . 2 9 353-4 'Missale Aboense' 319 Missale notation Strigoniense, see Bratislava, City Archives, E C . L a d . 3 , E L . 18 and other fragments Modena, Biblioteca Capitolare O . I . 7 163, 184, 203, 217, 317 Modena, Biblioteca Capitolare O.I.13 351 'Modoetiensis', see Monza, Basilica S. Giovanni C I X Mont-Rcnaud manuscript (in private collection) 75, 295,303-4,321,325, 571 Montecassino, Archivio Montecassino, Archivio Montecassino, Archivio Montecassino, Archivio 550,589 333, 337-8, 3 4 7 - 8 , 3 5 4 - 5 , della della della della Badia Badia Badia Badia 110 145 146 318 509 509 509 330, 374, 468,

Orleans, Bibliotheque Municipale 129 176 Orleans, Bibliotheque Municipale 201 ('Fleurv Playbook') 2 5 1 , 2 5 7 , 2 6 3 , 2 6 5 - 6 , 2 6 9 - 7 1 Oxford, Bodleian L i b r a r y , Auct. F.4.26 304 Oxford, Bodleian Library, Bodlev 579 ('Leofric Missal') 293,319 O x f o r d , Bodleian L i b r a r y , Bodley 775 77, 174-5, 216, 218-19, 224, 2 2 6 - 7 , 2 5 4 , 3 1 5 , 4 1 3 , 5 8 2 O x f o r d , Bodleian Library, Canonici liturg.350 405, 418-19 O x f o r d , Bodleian Library, c M u s . 126 50, 53 O x f o r d , Bodleian Library, G o u g h L i t . 8 321 O x f o r d , Bodleian L i b r a r y , Lat.liturg.d.3 405, 408-9 Oxford, Bodleian L i b r a r y , Lat.liturg.a.4 405, 4 3 6 - 7 Oxford, Bodleian Library, L a u d lat. 95 141, 143-5, 310-11 Oxford, Oxford, Oxford, Oxford, Bodleian Library, Misc.lit.366 305 Bodleian L i b r a r y , Ravvl.lit.e. 1* 321 Bodleian Library, Rawl.lit.d.3 584 University College 148 405, 434-5

Montecassino, Archivio della Badia 420 305 Montecassino, Archivio della Badia 540 589 Montecassino, Archivio della Badia 542 589 Montecassino, Archivio della Badia 546 589 Montpellier, Faculte de Medecine H.159 ('Dijon Tonary') 47, 110-14, 118-29, 133,201-2,295, 331, 340-4, 347, 355-9, 387-8, 473-4, 532, 536-7, 5 4 8 , 5 5 6 - 7 , 5 7 9 , 6 2 3 , 625

Padua, Biblioteca Comunale A.47 217, 353-4 Palermo, Archivio Storico e Diocesano 8 319 Paris, Bibliotheque Mazarine 384 321, 347 Paris, Bibliotheque Nationale, lat. 742 602 Paris, Bibliotheque Nationale, lat. 776 77-8, 8 0 - 1 , 8 3 4, 132-3, 151, 170, 182, 201-2, 326-7, 355-6, 35961,409,554-5,597-8 Paris, Bibliotheque Nationale, lat. 778 597-8 Paris, Bibliotheque Nationale, lat. 779 597

Paris, Paris, Paris, Pans, 597

Bibliotheque Bibliotheque Bibliotheque Bibliotheque

Nationale, Nationale, Nationale, Nationale,

lat. 780 lat. 783 lat. 785 lat. 887

330, 597 600 600 169, 214-15,

Paris, Bibliotheque Nationale, lat. 903 103, 122, 133-6, 151, 213, 295, 317, 347, 409, 597-8, 608 Pans, Bibliotheque Nationale, lat. 904 147, 263, 295, 399 Paris, Bibliotheque Nationale, lat. 905 137-8 Paris, Bibliotheque Nationale, lat. 909 305, 316, 597, 599- 601 Paris, 217, Paris, Paris, Paris, Paris, Paris, Paris, Bibliotheque Nationale, 219, 349, 351, 597-8 Bibliotheque Nationale, Bibliotheque Nationale, Bibliotheque Nationale, Bibliotheque Nationale, Bibliotheque Nationale, Bibliotheque Nationale, lat. 1084 181-3, 204-5, lat. lat. lat. lat. lat. lat. 1085 1086 1087 1 105 1112 1118 304, 597 597-8 575-6 319 52 63, 163, 204-5,

Paris, Bibliotheque Nationale, lat. 13159 141, 325, 330, 459,521,571 Paris, Bibliotheque Nationale, lat. 16819 264 Paris, Bibliotheque Nationale, lat. 17296 67, 303, 3 3 7 8, 354-5,357 Paris, Bibliotheque Nationale, lat. 17436 ('Compendicnsis', 'Antiphoner of Charles the Bald') 298, 303-4, 321, 3 3 7 - 8 , 4 9 6 , 510, 569 Paris, Bibliotheque Nationale, nouv.acq.lat. 1064 257, 260 Paris, Bibliotheque Nationale, nouv.acq.lat. 1177 597 Paris, Bibliotheque Nationale, nouv.acq.lat. 1235 85, 217,310 Paris, Bibliotheque Nationale, nouv.acq.lat. 1669 589 Paris, Bibliotheque Nationale, nouv.acq.lat. 1871 597 Paris, Bibliotheque Sainte-Genevicve 111 ('Silvanectensis') 298 Parma, Biblioteca Palatina 98 56 Passau, printed antiphoner of 1519 262, 303 Passau, printed gradual of 1511 150, 295 Piacenza, Biblioteca Capitolare 65 59, 61-2, 323, 586-8, 612, 617 Pistoia, Biblioteca Capitolare C.121 198, 253, 353-4 'Portiforium of St Wulstan', see M S Cambridge, Corpus Christi College 391 Prague, Archiv Metropolitnf Kapituly cim.4 606 Prague, University Library V I . C . 2 0 225 Processionale tfionasticum 32, 66, 70, 105, 626 Provins, Bibliotheque Municipale 12 64, 101-2,217, 219 'Psalter of Saint-Germain-des-Pres', see Paris, Bibliotheque Nationale, lat. 11947 Psaltenum monasticum 310, 628 Reims, Bibliotheque Municipale 224 57 'Rhenaugiensis', see Z u r i c h , Zentralbibliothek, Rhcinau 30 'Rollington Processional' 624 Rome, Biblioteca Angelica 123 180, 203, 295, 313, 351-2 Rome, Biblioteca Apostolica Vaticana, Barb.lat. 603 589 Rome, Biblioteca Apostolica Vaticana, Ottob.lat. 313 319 Rome, Biblioteca Apostolica Vaticana, Ottob.lat. 576 589 Rome, Biblioteca Apostolica Vaticana, Pal.lat. 235 365, 384 Rome, Biblioteca Apostolica Vaticana, Pal.lat. 1346 326 Rome, Biblioteca Apostolica Vaticana, Reg.lat. 316 292 Rome, Biblioteca Apostolica Vaticana, Rossi 76 585 Rome, Biblioteca Apostolica Vaticana, Rossi 205 310 Rome, Biblioteca Apostolica Vaticana, San Pietro B.79 166,531,535,569 Rome, Biblioteca Apostolica Vaticana, San Pietro F.22 531 Rome, Biblioteca Apostolica Vaticana, U r b . l a t . 602 589, 592 Rome, Biblioteca Apostolica Vaticana, Vat.lat. 4770 351 Rome, Biblioteca Apostolica Vaticana, Vat.lat. 5319 150-1, 166, 295, 300, 313, 353-4, 531-2, 534, 536-8, 548,556-7

216,316, 3 2 5 , 3 2 8 , 5 9 7 - 8 Paris, Bibliotheque Nationale, lat. 1119 167, 222, 597 Pans, Bibliotheque Nationale, lat. 1120 597 Paris, Bibliotheque Nationale, lat. 1121 224, 226-7, 305,313,332,597,601 Paris, Bibliotheque Nationale, lat. 1132 222, 578, 597, 600- 1 Paris, Bibliotheque Nationale, lat. 1133 597 Paris, Bibliotheque Nationale, lat. 1134 232, 597, 600-1 Paris, Paris, Paris, Paris, Paris, Bibliotheque Bibliotheque Bibliotheque Bibliotheque Bibliotheque Nationale, Nationale, Nationale, Nationale, Nationale, lat. lat. lat. lat. lat. 1135 597 1136 597 1137 597, 601 1138-1338 597 1139 41, 105-8, 243-

4, 2 4 8 - 9 , 265-7, 270, 597, 599 Paris, Bibliotheque Nationale, lat. 1154 239-41, 363 Paris, Bibliotheque Nationale, lat. 1240 180, 186, 200, 215, Paris, Paris, Paris, 224, 2 2 6 - 7 , 3 0 4 , 3 1 4 , 363, 597-8 Bibliotheque Nationale, lat. 2291 319 Bibliotheque Nationale, lat. 2400 511 Bibliotheque Nationale, lat. 3549 41, 246, 248, Nationale, Nationale, Nationale, Nationale, lat. 3719 lat. 7193 lat. 7202 lat. 9427 41, 248, 597 292 394 ('Lectionary of

597 Paris, Bibliotheque Paris, Bibliotheque Paris, Bibliotheque Paris, Bibliotheque Luxeuil') 552 Paris, Bibliotheque Paris, Bibliotheque Paris, Bibliotheque

Nationale, lat. 9432 166 Nationale, lat. 9438 600 Nationale, lat. 10508 159, 164-5,

224-30, 316, 328, 580 Paris, Bibliotheque Nationale, lat. 10863 552 Paris, Bibliotheque Nationale, lat. 11947 ('Psalter of Saint-Germain-des-Pres) 91, 491, 553 Paris, Bibliotheque Nationale, lat. 12044 205, 575 Paris, Bibliotheque Nationale, lat. 12050 ('Corbiensis') 298, 319, 325, 333, 571 Paris, Bibliotheque Nationale, lat. 12584 205, 303, 321, 337-8,575 Paris, Bibliotheque Nationale, lat. 12601 575

Rome, Biblioteca Apostolica Vaticana, Vat.lat. 6082 589 Rome, Biblioteca Apostolica Vaticana, Vat.lat. 10644 507 Rome, Biblioteca Apostolica Vaticana, Vat.lat. 10673 2 9 5 , 3 5 2 - 4 , 5 5 1 , 5 8 9 Rome, Biblioteca Casanatense 54 570, 585 Rome, Biblioteca Casanatense 1574 310 Rome, Biblioteca Casanatense 1741 175, 219, 313, 31617, 352-3, 417 Rome, Biblioteca Casanatense 1907 322 Rome, Santa Sabina X I V . l i t . 1 2 7 7 - 8 , 6 1 2 Rouen, Bibliotheque Municipale 245 ( A . 190) 579 Rouen, Bibliotheque Municipale 248 (A.339) 580 Rouen, Bibliotheque Municipale 250 (A.233) 398 Rouen, Bibliotheque Municipale 277 (Y.50) 335 Rouen, Bibliotheque Municipale 310 (A.293) 56 Saint-Die, Bibliotheque St G a l l , Stiftsbibliothek 383, 572, 626 St G a l l , Stiftsbibliothek St G a l l , Stiftsbibliothek St St St St St Municipale 42 326 339 295, 301, 347, 373, 375-6, 349 505 359 295-6, 299, 347, 358-63,

T o l e d o , Archivo Capitular 33.24 433 T o l e d o , Archivo Capitular 35.7 352 T o l e d o , Archivo Capitular 35.10 602 T o l e d o , Archivo Capitular 44.1 305 T o l e d o , Archivo Capitular 44.2 596, 603 T o l e d o , Archivo Capitular 44.3 603 T o l e d o , Archivo Capitular 48.14 603 T o u r s , Bibliotheque Municipale 927 257, 2 6 7 - 9 , 271 T r i e r , Stadtbibliothek 2254 ('Bohn Codex') 122 T u r i n , Biblioteca Nazionale Universitaria F . I . 4 250 U d i n e , Biblioteca Arcivescovile 234 261, 585 U d i n e , Biblioteca Arcivescovile 8.2 585 Utrecht, Bibliotheek der Rijksuniversiteit 406 328 Utrecht, Bibliotheek der Rijksuniversiteit 408 328 Valenciennes, Bibliotheque Municipale 121 578 ' Varese-Eredi Bianchi manuscript', privately owned 540 \ ariae preces 105, 211, 626 Vast era's, printed gradual of r . 1513 295, 605 Vercelli, Biblioteca Capitolare 56 585 Vercelli, Biblioteca Capitolare 186 585 Verona, Biblioteca Capitolare L X X X V (80) 291 Verona, Biblioteca Capitolare L X X X I X (84) ('Verona Orational') 312, 559 Verona, Biblioteca Capitolare X C V I I I 303, 337-8 Verona, Biblioteca Capitolare C I X (102) 310 'Verona Orational', see Verona, Biblioteca Capitolare 89 V i c h , Museo Episcopal 105 603 V i c h , Museo Episcopal 106 603 V i c h , Museo Episcopal 117 603 Vienna, Osterreichischc Nationalbibliothck 1609 314 Vienna, Osterreichische Nationalbibliothek 1836 330 Vienna, Osterreichische Nationalbibliothek ser.nov.2700 295, 303 Westminster A b b e y , 'Lytlington missal' 319 Wolfcnbiittel, I lerzog-August-Bibliothek, Weissenburg 76 294, 297, 492,553 Wolfcnbiittel, Herzog-August-Bibliothek, 79 G u d . lat. 313 'Wolffheim Antiphonal', see Berkeley, University Library 748 Worcester, Chapter Library F.160 ('Worcester Antiphoner') 68, 85-7, 107, 145-6, 201, 218-19, 303, 310, 317, 323, 354-5, 357, 407, 413, 464 York, printed breviary of 1476 321 Z u r i c h , Zentralbibliothek, Rheinau 28 303, 337-8 Z u r i c h , Zentralbibliothek, Rheinau 30 ('Rhenaugiensis') 298,319 Z u r i c h , Zentralbibliothek, Rheinau 83 310

373, 375-7, 382-3, 571-3, 623-4 G a l l , Stiftsbibliothek 360 146 G a l l , Stiftsbibliothek 376 216, 572 G a l l , Stiftsbibliothek 378 572 G a l l , Stiftsbibliothek 380 387, 572 G a l l , Stiftsbibliothek 381 146, 163, 175, 197, 572,

586 St G a l l , Stiftsbibliothek 382 146, 572 St G a l l , Stiftsbibliothek 388 334 St G a l l , Stiftsbibliothek 390-391 ('Hartkcr Antiphoner') 27, 70, 75, 303-6, 326, 331, 334, 337-8, 347, 380-1, 397,506,521,569,572 St G a l l , Stiftsbibliothek 484 180, 198, 572, 586 St G a l l , Stiftsbibliothek 546 139, 150, 156, 164-5, 168, 177,572 St G a l l , Stiftsbibliothek 567 506 St G a l l , Stiftsbibliothek 1399 304 St Petersburg, Saltykov-Shchedrin Public Library O.v.1.6 122, 127,295,612 Saint-Qucntin, Bibliotheque Municipale 86 267 Saint-Victor-sur-Rhins, breviary 575 Salisbury, Cathedral Chapter Library 149 583 Salisbury, printed breviary of 1531 321 Santiago de Compostela, unnumbered manuscript ('Jacobus', ' L i b e r Sancti Jacobi' or 'Codex Calixtinus') 39-41, 249, 276, 576, 603 'Seckau Cantionarium', see G r a z , Universitatsbibliothek 756 Sens, Bibliotheque Municipale 6 40 Sens, Bibliotheque Municipale 46 41 'Silvanectensis', see Paris, Bibliotheque Sainte-Genevieve 111 Soissons, Bibliotheque Municipale 85 614-15

INDEX OF NAMES AND TERMS

Citations in b o l d indicate a musical example. Aachen 87, 292, 349, 517, 520, 530, 569, 572; Council of (798) 169; Council of (816) 364; Council of (817) 364,570 Abate, G . 594 A b c l a r d , Peter 194,241,611 Abingdon 581 Abrahamsen, E . 605 . \cta sanctorum 313 Adalbero, bishop of A u g s b u r g 458 A d a 1 be ro, bishop o f M e tz 571 A d a m de la Halle 247 A d a m of Saint-Victor 194, 599 Adhemar of Chabannes 511, 562, 599 :\dmonitio gene talis 3 64, 516 A d m o n t 578 Adoration of the Cross 3 6 - 7 , 265, 525, 527-8 Advent 7, 1 1 - 1 2 , 7 0 , 8 6 , 9 2 affmitv, modal 455, 466 (similitude), 468, 473-5 Afflighcm 471 agape (love-feast) 486 Agatho, pope 505, 507 Agde, Council of (506) 55 agenda 324 Agnus Dei 8, 19,24,38, 148-50, 163, 165-8, 183,499; invocation in litanv 51; tropes 196, 213, 220, 223, 225, 231-3,519 Agobard of L v o n 528, 570, 576 Agustoni, L . "384, 399, 573 Albarosa, N . 382 Albers, B. 579 Albert V of Austria, duke 615 Albi 201 Alcuin 292, 297, 309, 366, 447, 456, 507, 518, 520, 522, 569,581 Alexander II, pope 558, 582,594 Alexander I V , pope 615 Alexandria 365, 480; see also Coptic C h u r c h Alfonzo, P. 88 Alfred (Aluredus, Amerus) 595 .Via musica ( A n o n . ) 328, 394, 448, 451-2, 461-2, 471, 473 .Viae regulae ( G u i d o of Arezzo) 466, 468 alleluia 6 , 2 3 , 2 9 , 4 6 , 127-8, 130-9, 172, 181, 185-9, 273, 294, 5 1 8 - 1 9 , 5 2 5 , 5 2 8 - 9 , 561,563,578,582, 600-2; carlv history 496, 500-5; O l d Roman 531, 5 3 8 -9 ; Milanese 541-2, 544, 546; O l d Beneventan 550; O l d Spanish 560; Marian 136-9; prosulas 2 0 1 4, 296, 2 9 8 - 9 , 314-17, 330-1, 336, 363, 382, 561 alleluiatici (antiphons, O l d Spanish) 493, 496 Allworth, C . 317 Almeida, F . de 603 Alypius 386, 392, 450 Amalarius of Metz 5 - 6 , 70, 73-4, 77, 82, 185, 200, 251, 290, 296, 304, 345, 490, 496, 506-7, 511, 518, 528, 538, 564, 569-70 Ambrose, St 140, 142, 311, 313, 363, 488-90, 492-3, 495- 6, 504, 511, 540, 611 Ambrosian chant, see Milanese chant Ambrosiani (hvmns) 142-3, 281, 284, 489, 611 A m e l l i , A . M . 550 Amiens 166 A n c h i n 578 ancus 343, 345 Andersen, M . G . 605 Anderson, W . 392 Anderson, G . A . 284 Andover, R. 549 A n d r i e u , M . 185, 289-91, 324, 496, 498, 500, 505, 511, 516,538 Anerio, F . 616, 626 A n g e r e r J . F . 325,615 Angers 586; abbey of Saint-Aubin 517 Angilbert, abbot of Saint-Riquier 522, 571 Angilramnus of Metz 511 Angles, H . 2 0 5 , 2 8 4 , 3 3 9 , 6 0 2 Anonymous I ( G S i) 394 Anonymous II ( G S i) 394 Anonymous IV ( C S i) 476 Anselm, St 582 Anstrannus, bishop of Verdun 522 Antioch 480-2, 489-90, 495, 498 Antioch, Second Svnod of (272) 486 antiphon 25-30, 35, 37, 39, 46, 87-99, 102, 109, 11415, 117, 273-9, 3 0 5 - 7 , 3 0 9 , 3 2 4 , 3 2 6 , 329-35, 380-2, 455-6; carlv historv 489-94, 496, 513; fraction 31617, 498-9; O l d Roman 531, 533-5, 539; Milanese 541; Marian 30, 46, 100, 104-8; processional 34, 46, 100-4, 318-19, 330, 496, 5 5 3 - 5 ; votive 30, 105 antiphona: ad accedentes ( O l d Spanish) 499; ad crucem confractionem (Old Spanish) 499; ad crucem (Milanese) 494, 541; ad pacem (Old Spanish) 499; ad praelegcndum (Gallican, O l d Spanish) 496- 7; anteevangclium 98, 317, 554, (Gallican, Milanese) 5 0 0 - 1 ; in choro (Milanese) 494, 541; post evangelium (Milanese) 500-1, 542 antiphoner 61, 288-9, 303-1 1, 314, 321-3, 328, 336-7, 388-9, 414-15, 430-1, 506-9, 511, 516, 521, 531, 539,571-2, 5 9 6 - 7 , 6 1 6 , 6 1 8 Apel, W . 69, 75, 77, 80-83, 89, 123, 131-3, 194, 286, 377,502, 529, 531,540

Apostles' Creed, see Credo in D c u m patrcm omnipotcntcm Apostolic Constitutions 495, 498 Apostolic Tradition (Hippolytus) 486 apostrophe 361; see also strophici Apt 491,598 Aquileia 261, 263, 419, 482, 530, 585 Archer, P. 9 Arezzo 328, 466, 626 A r i b o 384, 471-2, 511 Aristarchus 365 Aristides Quintilianus 443 Aristophanes of Byzantium 354 Arlt, W . 39-43, 213-14, 221, 234, 237-8, 242, 246, 248-50,572 Armenian church 481; ekphonetic notation 367; rite and chant 480, 502 Arnalt de M u n t 603 Arnese, R. 339, 591,595 A r n o , bishop of Salzburg 292 Arnoux, G . 444 Arnulf, precentor of Chartres cathedral 580 Arras, and monastery of Saint-Vaast 211, 221, 528, 586 Ascension D a y 9-11, 13 Ash Wednesday 9-11, 13, 31-2, 44 A s h w o r t h , H . 297,507,510 Asketorp, B. 605 Asti 351 Atchley, E . G . C . F . 290 Athanasian Creed, see Quicunque vult Athanasius, bishop of Alexandria 495 Atkinson, C . M . 5, 62-3, 149, 162, 165-6, 168, 223, 460, 528 A u b r y , P. 172, 194 A u c h 316, 325, 328, 597 A u d a , A . 273 Augsburg 261, 263, 396, 585; monastery of S S Ulrich a n d A f r a 578 Augustine of H i p p o , St 26, 140, 282, 313, 443, 488, 490, 492,495-6,499,504,522 Augustine of Canterbury 102, 297, 483, 506, 514, 628 Augustinian Canons Regular 614-15; Hermits or Friars 615 Aurelian of Aries 141, 488 Aurelian of Rcome 63, 332, 358, 364, 370, 448, 452, 454, 456-9, 462, 521-3, 569 Aurillac 351 Auxerre, and abbey of Saint-Germain 448 Avery, M . 590 B a b b , W . 326, 357, 364, 427, 448, 466,472 baculum 40 Bailey, T . 3 0 , 3 2 , 5 8 , 6 2 - 3 , 9 0 , 100-1, 104, 130, 188-9, 317,319,325, 329, 332, 384-5, 452-3, 495, 501-2, 525,527,541, 544, 546, 549 Baldovin, J . F . 480 ballata 250 Baltzer, R. 476 Bamberg 338-9 Bannister, H . M . 346 baptism 33, 38, 42, 44, 51, 297, 324

Baralli, R. 385 Bardesanes (Bar-Daisan) of Antioch 485-6, 489 Barezzani, M . T . R. 351 Bari 190,354 Barnwell 584 Baroffio, B. 121, 123, 125, 519, 540-1, 554, 556, 585 Batiffol, P. 320 Baudot, J . 324 Baumer, S. 320, 487, 618 Baumstark, A . 478, 480, 502, 525 Bautier, R . - H . 326, 387, 470 Bautier-Regnier, A . - M . 345 Bayart, P. 273 Bavcux 42 Beare, W . 279, 281, 285 Beauvais 39-43, 169, 233-5, 238, 243, 248-50, 257, 259 Bee 577, 579,582 Becker, G . H . 2 9 6 , 3 3 9 , 6 1 3 - 1 4 Bede 10, 102, 290, 297, 407, 456, 505-7, 581, 629 B e l e t h J . 40 Benedicamus D o m i n o 2 4 , 2 7 - 3 0 , 148, 150, 1 9 6 , 2 1 3 15,238,242 Benedicamus songs 41, 108, 1 9 3 , 2 3 8 - 9 , 2 4 2 - 3 , 3 1 6 Benedicitc, canticle 64 Benedict Biscop 509, 581 Benedict of Aniane 292, 298-9, 311, 570, 598 Benedict of Nursia, St 178, 311, 336, 407, 590 Benedictine monasticism and liturgical practice 27, 488, 491-4, 517, 569, 578, 590, 615; see also Rule of St Benedict Benedictio cerei 38 benediction, by bishop after Paternoster 324 Benediction with the Blessed Sacrament 24 benedictional 324 benedictiones (Gallican, O l d Spanish) 493, 497-8, 500-2 Benedictus D o m i n u s Deus Israel, canticle 22, 28, 34, 45; antiphons for 88, 96, 98, 105, 305-7, 333; in Gallican and O l d Spanish mass, see Benedictiones; tones for 58, 64,323 Benedictus es D o m i n e , canticle/hymn 23, 58, 68 Benedictus, part of Sanctus 24 Benevento, Beneventan chant (incl. O l d Beneventan) 150, 181, 204, 217, 249, 338-9, 354, 391,429,478, 483, 524-7, 529-30,542, 5 4 6 - 7 , 5 4 9 52, 5 6 1 - 2 , 5 6 4 , 5 7 3 , 586, 589-93 Benoit-Castelli, G . 624 Benton, J . F . 194 Bernard, abbot of Saint-Jean-dc-Reome Bernard, archbishop of T o l e d o 558 Bernard of Clairvaux, St 609-11 Bernard, M . 264-5, 273, 275-6, 339 Bernelinus (Pseudo-) 472-3 Bernhard, M . 458, 466

456

Bernoof Reichenau 326, 328, 330, 471-5, 523 Bernold of Constance 604, 607 Beroldus 540 Berry, M . 399, 401, 609, 611, 626 Berthold, monk of Reichenau 474 Bescond, A . 624, 627 Bewerunge, H . 286

Binford-Walsh, H . 47 Birkncr, G . 607 Bischoff, B. 269, 363, 366-7, 471-2 Bishop, E . 34 Bishop, W . C . 493, 557 bistropha 343, 345 bivirga 343, 345 Bjork, D . 149-50, 152, 211-12,252 Bjorkvall, G . 201,204, 598 Blanchard, P. 501 Blessing of the Candle 3 8 , 5 1 , 100, 102; of the H o l y Oils 35; of the N e w Fire 38 Bloch, H . 591 Blume, C . 181 Bobbio 250, 351, 419, 585 Boe, J . 150-1, 156-8, 162, 166, 196, 212, 531, 585, 589-90 Boethius 239,328, 386, 392, 394, 442-6, 449-50,456, 460-3,470, 475, 523 Bogaerts, C . C . 623 Bologna 351 B o m m , V. 117, 124, 127, 473 Bonastre, F . 205, 603 Boniface, St (Wynfrith) 294, 515-17, 581, 590 Boniface II, pope 5 0 5 - 6 Bonniwell, W . R. 611 Boor, H . de 252, 261 Borella, P. 494,540 Borsai, I. 481 Bosse, D . 148, 156-61, 209, 315, 336, 419, 452, 606 Bossuet, J. B. 618 Botte, B. 7 Bouver, L . 5 Bower, C . i\1. 187, 438, 448, 458-9, 470 Boy Bishop 40 Bovce, J . J . 615 Bradshaw, P. 487-9, 491 Braganga, J. 603 Bragard, R. 201 Branner, R. 335, 391 Brescia 351,419 breviarv 287-9, 305, 307-9, 311, 320-2, 336, 595, 615, 618 Bridget, St 605, 615 Briggs, II. B. 405, 407, 411, 433 Brigittinc Order of nuns 605, 615 Bristol 614 Brockett, C . W . 257, 558, 596 Bronarski, L . 471-2 Brou, L . 188, 525-6, 528, 557, 559-60 Brovelli, F . 618 Brown, V . 590, 607 Brown, L . E . G . 320 Browne, A . C . 386-7 Brunholzl, F . 106 Brunner, L . 183,185, 399,585, 588-9,591 Bruno, bishop of T o u l (Pope L e o I X ) 275 Bruno of Cologne, St 613 Bryant, D . 530 Buchner, M . 516 B u j i c B . 607

Bulst, N . 578 Burghard of F^ichstatt 515 Burgos 603 Burgundv 188 burial 42, 44, 324 Bursfeld 615 Buzga, J . 250 Bvzantium: Byzantine rite and chant 31,58, 102, 149, 169, 188, 220, 332, 454, 456, 459, 479, 482-3, 495, 498, 500, 502, 521, 525-30, 554, 561, 569; notation 361-2, 367-70, 395; see also Constantinople Cabaniss, A . 569 Cabrol, F . 289, 557, 626 Caen, priory of St Stephen 582 Caesarius of Aries 141, 294, 311, 488 Cagin, P. 511,626 Caiazzo 589 Calcidius 443-4 Caldwell, J . A . 444 Callewaert, C . 511-13 Camaldoli, Camaldolese 578, 603 Cambridge 584 Campbell, T . P. 251 Canal, J . M . 609 canon (of mass) 24, 287, 291, 320 Canosa 589 cantatonum 77, 295-303, 314, 382 Canterbury 102, 5 8 1 - 2 ; abbey of St Augustine 239; cathedral priory of Christ C h u r c h 406, 582, 584; abbey of S S Peter and Paul 509 cantica of Holy Saturday 36, 38, 8 2 - 3 , 561; see also tract canticle 2 1 , 2 8 - 9 cantio 108, 238-50, 606; see Latin liturgical song cantionale 250 canto fermo, canto fratto 621 cantus (Milanese) 500-2, 541-2 Cantus sororum (Brigittinc office) 615 C "antus quern ('isterciensis ordinis ecclesiae Capelle, B. 497 capitulary 293-4 capitulum, see chapter Capua 294

610

Cardinc, E . 109, 341, 358, 370, 373, 379-80, 382-3, 400,573 Carinola 595 Carmelite Order 615 Carthage 483, 486 Carthusian Order 433, 570, 603, 613-14 Cassiodorus 443, 456, 460 Castle Acre, Cluniac priory 318-19 Castro, E . 602 Casus Sancti Galli (Ekkehard IV ) 199, 572 Catania 209, 223-5 catechumens 23, 33 Cattaneo, E . 540,550 Cavallo, G . 590 Cecilian movement 623 Celestine I, pope 495-6, 498 Celestine V , pope 595

Celestine Order 595 Celtic church and chant 483-4, 488, 493, 553; see also Irish church Ccnsorinus 443 cento, centonization 74-5, 224, 496 cephalicus 343, 345 C h a d wick, H . 444 Chaillev.J. 40,207,461,596 Chalcedon, Council of (451) 480-1 Chambers, E . K . 43-4 chant figure 399, 620 chant sur le livre 620 chapter (short lesson) 27-30, 39, 54, 85, 309, 311, 313 Charlemagne, emperor 17, 292-3, 364, 371, 447, 456, 458, 479, 509, 511, 514, 516-18, 520-3, 530, 540, 550, 552, 558, 564, 569, 571-2, 576, 581, 590, 596 Charles the Bald, emperor 298, 448, 479, 518, 522 Charles the Fat, emperor 185, 530 Charles Borromeo, St 541 Charlesworth, K . 485 Chartier, Y . 448,458 Chartres 64, 150, 217, 470, 564, 580 Chartreuse, L a Grande (Charterhouse) 613 C h a v a n o n , J . 562 Chavasse, A . 2 9 3 - 4 , 2 9 8 , 5 1 2 Chelles 292 Cheroubikon 500 Chevalier, U . 39, 41, 43, 249 C h i b n a l l , M . 580 Chichester 435 Choissclet, D . 322,609 C h o m t o n , L . 578 C h o r o n , A . - E . 622 Christmas Day 8, 11-12, 27; Christmas Eve 12, 56; Christmas season 8 , 3 9 - 4 2 , 191 Chrodegang, bishop of Metz 299, 516, 571 chromatic notes 68,92, 123-4, 145,361,394,451,464, 474 Chronicon (Adhemar of Chabannes) 562 Cinq messes en plainchant (Henry D u Mont) 171 Circumcision, feast and office 12", 39-43, 96, 171, 2336, 243, 249, 270 Cisneros, Jimenez de, cardinal 558-9 Cistercian Order, Citcaux 310-11, 322, 466, 474, 476, 575, 578, 603, 608-13 Cividale 266, 482 Claire, J . 8 5 , 8 7 - 8 , 9 0 - 1 , 5 4 1 clamor (Old Spanish) 500-3, 560 Clark, J . M . 571 Claudianus of Viennc 492 climacus 341-2, 344, 348-9, 352-3, 390 clivis 342, 344, 348-9, 352-3, 390 Cloveshoc, Council of (747) 297, 364, 516 Clovis, king of the Franks 552 C l u n v 19-20, 54, 67, 321-2,347, 387, 558, 563, 571, 574-80,582, 600-3, 619 Cocheril, M . 609 C o d v , A . 460 Coffin, C . 619 Colette, M . - N . 388 Colgravc, B. 506

collect 6, 23, 27, 30, 36, 49, 291, 311-12 collectar 288, 308, 310-12, 322-4 Collins, A . J . 320, 605, 615 Columbanus, St 488 C o m b e , P. 624, 626 comes (liber comitis, liber commicus) 293 Comes of M u r b a c h 294 Comes (Capitulary, Lectionary) of W i i r z b u r g 294, 502 Commemoratio brevis de tonis et psalmis modulandis (Anon.) 62-3, 328-9, 384-6, 393, 448, 452-3, 456, 459 Commentarius in Micrologum (Anon.) 384, 472 communion (chant) 19, 24, 38, 46, 109, 116-23, 326, 330-1, 456, 518; O l d Beneventan 550-2; O l d Roman 531-3; early history 4 9 7 - 9 , 5 0 3 , 5 1 1-13; tones for psalm verses 58, 64-5, 330, 455, 457; tropes 196, 21516; see also transitorium, Milanese C o m o 353, 585 Compicgne 448; abbey of Saint-Corneille 2 6 4 - 5 , 2 9 8 , 337 Compline 16, 19-21, 29-30, 35-7, 39, 85, 104-5, 142, 249, 310 computus (compotus) 9 conductus 39-43, 108, 238-50, 273, 576; see also song, Latin liturgical Confessions (St Augustine) 490, 495 confirmation 42, 44, 324 confractorium (Milanese) 499 Connolly, T . 58, 62, 66, 109, 531 Conrad II, emperor 189 Constance 395-6 Constantine I, emperor 480-1, 484 Constantine, C . G . 574 Constantinople 480-2, 489, 506, 569; A W also Byzantium C o n t r e n i J . 448 Conversion of St Paul, play 269 Conybeare, F . C . 486 Coptic church and chant 385, 481 Corbie 298, 321, 325, 333,338, 347, 3 5 4 - 5 , 4 1 3 , 5 0 7 , 520, 5 7 0 - 1 , 5 7 5 , 581-3 C o r b i n , S. 269, 340, 348, 363, 387-8, 505, 602-3 Corinth 486 Cornelimunstcr 598 Cornford, F . M . 444 coronation 42, 44, 324 Corpus T r o p o r u m 196 Corpus Christi 25, 192 coupurc ncumatiquc 377 Coussemaker, E . de 251, 260, 263-7, 269, 365, 374, 610 Coutanccs 269 Cowdrey, H . E . J . 574, 591 Credo in D e u m patrem omnipotentem (Apostles' Creed) 25, 30, 168; farse 234-5 Credo in u n u m D e u m (Nicene Creed) 8, 23, 148-50, 168-71, 519; farse 168-9, 171, 196, 233-4, 235-6, 621 Crichton, J . D . 5 Crocker, R . 88, 150, 152, 156, 161, 165, 168, 172, 178, 180, 185-7, 196, 211, 238, 279, 282, 284, 286, 386, 392,443, 572, 5 8 7 - 8 , 5 9 6 , 5 9 8

Cross, Exaltation of the Holy H o l y 192 Crowland 582 Cserba, S. 326 C u o n t z , J . 156, 572 C u r r a n , M . 484, 553

11-12; Invention of the

Desclee, publishing firm 397, 627 Deshusses, J . 291-2 Desidcrius, abbot of Montecassino, Pope Victor III 591 D c w i c k , E . S. 13,312 dialect, G e r m a n chant 573 Dialogus de musica (Anon.) 328, 387, 395, 454, 463-7, 470, 473-4, 521, 575, 579 Dialogus ecclesiasticus institutionis (Egbert of York) 297, 507 Dickinson, F . H . 172, 319 differentia (diffinitio) 58, 61, 89, 92, 105, 108, 326-9, 333,335 Digne, ecclesiastical commission 171, 397, 625 D i j k , S. van 321, 538, 560-1, 594, 612 D i j o n , monastery of Saint-Benigne 201, 331, 355, 387, 577-9, 582, 609-10 Dirige 19 Disentis 334 diurnal 305, 312, 432-3 D i x , G . 487,494 Doble, G . 7 D o b s o n , E . J . 266 Dobszay, L . 8 8 , 9 0 , 6 0 7 Docttina scientiae musicae (Elias Salomon) 595 D o l d , A . 294, 297, 304, 492, 553 D o m i n i c , St 274, 276-8 Dominican Order 320, 322, 391, 608, 611-13 Donato, G . 326 Donovan, R. B. 251, 602 D o r e n , R. van 562, 571-2 Downpatrick 582 Doxology, see Gloria drama, liturgical 46, 250-73 Drinkwelder, O . 172 Dronke, P. 204,240 Droste, D . 580, 584 D r u m b l J . 264,527 D u M o n t , II. 171,620 Duarte (Edward), king of Portugal 603 Dubois, J. 313 Duchesne, L . 494, 504-5 Duchez, E . 373 Dufay, G . 36 D u f o u r , J. 623 Dumas, A . 292 Dunstan, St 581 D u r h a m 582 D u v a l , E . 623 Dyer, J . 63, 121, 308, 399, 442, 487, 490-1, 495-6, 499-500,531,534,539,560 Eadberht, king of Northumbria 297, 507 Easter Sunday 8-10, 13, 19, 26, 32-3, 39; Easter E v e , Easter Vigil, see Holy Saturday; Easter season 8 - 9 , 12-13, 32, 148; calculation of date 9-10 Easter Play 267-9 E b c l , B. 310 Eberhard, canon of Augsburg 585 E b r u l p h u s ( E v r o u l t ) , St 580 echemata 332-3 cchos, echoi 454, 459-60

cursus (secular or monastic form of office) 21, 25-30, 3 8 - 9 , 2 0 1 , 3 0 9 , 313, 336-7, 580,614 cursus (prose rhythm) 285-6 customary 325, 398 Cutter, P. 6 6 , 6 9 - 7 0 , 5 3 1 , 5 3 9 C y r i l , St 482 C y r i l , bishop of Jerusalem 498 D ' A n g c r s , O . 596 Dagobcrt, king of the Franks, St 554 Dalton, J . N . 7 Damilano, P. 250 dance, liturgical 40, 207, 225 Daniel, Play of, see Lucius Danielis Danjou, J . - L . - F . 623 Darragon, B. 91 dasian notation 386, 393-4, 451-3 D a v i d , king of Israel 511,522 D a v i d (Charlemagne) 522 D a v i d , L . 580,583 Davidson, C . 251 D a v r i l . A . 252,574-5 De acrentibus (Anon.) 366 De computo (Hrabanus Maurus) 10 De convivio she prandio atque cents monachorum 505 De die nataii (Censorinus) 443 De divisione naturae (Johannes Scotus Eriugena) 448 De ecclesiasticis disciplinis (Regino of Priim) 458 De ecclesiasticis ofjiciis (Amalarius of Metz) 5 De ecclesiasticis ofjiciis (Isidore of Seville) 502, 558 De hannonica institutione (Hucbald of Saint-Amand) 364,448 De illusttis sctiptoribus ecclesiasticis (Isidore of Seville) 505 De institutione musica (Boethius) 444, 470 De L a Fage Anonymous 476 De mensurabilimusica (Johannes de Garlandia) 476 De tnodis musicis (A non.) 63 De musica (Augustine) 443, 522 De nuptiis Philologiae et Metcutii (Martianus Capella) 443 De octo tonis (Anon.) 456, 522 De plana musica (Johannes de Garlandia) 476 De rebus ecclesiasticis (Walahfrid Strabo) 553 De titibus ecclesiasticis (Landulphus) 540 De vitis illusttibus (Ildefonsus of T o l e d o ) 505 Deanesly, M . 506 Dechevrcns, A . 379-80 Deereta (Lanfranc) 604 Dedication (Consecration) of a C h u r c h 42, 45, 51, 324, 424-5 Dclalande, D . 609-12 Delaporte, Y . 274 Deleglise, F . 273 Deposition of the Cross 35, 37, 251

Eddi (Stephen) 507 Edgar, king of England 564, 581 Edward the Confessor, king of England 582 Edwards, K . 40 Edwards, O . T . 273, 584 Eeles, F . C . 580 Egbert, bishop of Y o r k 297, 507, 509 Egeria (Ethcria) 150, 480 Eggen, E . 172, 605 Ehrensberger, H . 289 Eichstatt 205, 328 Einhard, biographer of Charlemagne Einsiedeln 3 1 0 , 3 2 8 , 3 3 4 , 3 7 3 Eisenhofer, L . 1 Eizenhofer, L . 281 Ekberg, G . 369 Ekenberg, A . 1 516

Expositio latins tnissae (Amalarius of Metz) Exultet 38, 49, 5 1 - 2 , 315, 319, 554 Falconer, K . 223 Fallows, D . 239 Falvy, Z . 273,607 Farmer, D . H . 7

5-6

Ekkehard I V of St G a l l 199, 215, 572 ekphonetic notation 364-5, 367-9, 481 elevation of the sacrament 24 Elias Salomon 595 Ellinwood, L . 472 Elv 322, 425 Elzc, R. 324 E m b e r Days 11-13,23,68,77 Emerson, j . 238, 295, 302-3, 313, 319-20, 389, 596, 598-9 Engelberg 334 Engelbert of A d m o n t 476 Engelbrecht, bishop of Passau 471 Engyldeo 363 Ephesus, C o u n c i l of (431) 481 E p h r e m of Edessa 486 Epiphany 10-12, 27, 4 0 - 4 1 , 56, 70, 104, 235, 265, 2 6 9 70,310,333 epiphonus 343, 345 episema 374-8, 380-3 epistle 6, 23, 54, 247, 293-4, 495-6, 498, 500-2; farse 234, 236-8, 249 Epistola ad Michaelem (Epistola de ignoto cantu) ( G u i d o ofArezzo) 466-7,469 Epistola de hannoriica iustitittione (Regino of Priim) 4 5 8 - 9 epistolary 287, 293-4, 322 Epstein, M . J . 273 Erbacher, R. 62 Escorial, E l 5 estampie 188 Esztergom (Gran) 607 Ethelwold, bishop of Winchester 581 E t t . C . 620 Etymologiae (Isidore of Seville) 490, 558 euouae (seculorum amen) 333 evangeliary 287, 293, 322 Evans, J . 574 Evans, P. 196-7, 215, 220, 2 2 3 , 3 1 3 , 4 1 5 , 596 Evans, R . 569 Evesham 582 Exeter 312, 582, 584 Expositio antiquae liturgiaegallicatiae 188, 294, 497-8, 500-1,552

farse 41, 168-9, 196, 225, 233-7, 249, 5 9 2 - 3 ; see also trope Fassler, M . 194, 279, 325, 487 Fazio de Castoldis 437 Feast of Fools 39-43 Fecamp 579, 582 Felder, FI. 273, 596 Fellerer, G . 540, 552, 608, 621-3 Fenlon, I. 369 Ferdinand of Portugal, St 603 feria 12 Fernandez de la Cuesta, I. 339, 602 Ferotin, M . 559 Fcrretti, P. 69-70, 77, 87, 90, 93, 9 8 - 9 , 286, 341, 351, 374 Fiala, V . 289 Fickctt, M . van Z . 371 Fieschi, Ottobono, cardinal, Pope Fladrian V 595 Fischer, L . 320, 594 F l a c c u s ( A l c u i n ) 522 Flavigny 292 Fleming, K . 117 fleuretis 620 Fleury, and monasterv of Saint-Benoit-sur-Loire 269, 581", 583,590 flexa 342, 344 Flint, V . 472 Florence 595 Floros, C . 369 Florus of L v o n 570 F l o y d , M . 317 Foley, E . 487 Fontaine, G . 618-19 Fontevrault 225, 238 Forlimpopoli 317 F^ortcscue, A . 1 Franca, U . 88 francigenae, Milanese melodiae 188-9, 544, 546 Francis, St 274, 596 Franciscan Order 104, 326, 594-6, 608, 612 Franciscus/FYanco of Liege 326, 472 Franks 70, 73-4, 81, 86, 101, 109, 152, 166, 187-8, 289-92, 296, 299, 301, 304, 309, 311, 364, 370, 479, 483, 506, 509-10, 5 1 4 - 2 5 , 5 2 7 , 5 3 1 , 541,546, 549, 552-4, 560-2, 564, 569, 572, 590, 594, 628 Frederick, abbot of Montecassino, Pope Stephen I X 591 Freising 314 FYenaud, G . 531 Frere, W . H . 1,7, 13, 48, 66, 69, 71, 73, 75, 88-93, 115, 180,216, 293, 303, 312-13, 320, 324, 326, 333, 339,388,533,580,583 Fricdlcin, G . 444 Froger, J . 109, 297-8, 304, 401, 497, 501, 504, 507, 572, 628

Frutolf of Michelsberg 127, 326, 472 Fruttuaria, abbey of San Benigno 579 Fulbcrt, bishop of Chartres 471, 580 Fulda 447 Fuller, I). 620 Fuller, S. 238, 248, 452, 476, 596 Fulrad of Saint-Denis 515 Gaeta 310 Gaillac 597 Gajard, J . 379, 573 Gallican liturgy and chant 32,98, 101-2, 104, 122, 134, 140, 150, 153, 178, 188-91, 220, 275-6, 281, 285, 292, 294, 297, 479, 483, 506, 518-19, 524-5, 546, 559-62, 569, 598; early history of office chants 492; of mass chants 497-502; music, and comparison with Gregorian 552-7 Gamber, K . 287-8, 291-3, 409, 507 Garand, M . 574 Gastoue, A . 552-4, 627 Gatard,A. 540 Gautier, L . 146, 173, 196-7, 216, 220, 248, 511, 572 Gavel, M . H . 279 Gelasius, pope 497 Gelineau, J . 1 Genealogy of Christ 27, 5 6 - 8 Gengenbach 578 Gennadius 291, 297, 492 Gennrich, F . 266 George, primus of the Roman schola cantorum 515 Georgian ekphonctic notation 367; rite and chant 480 Gerbert of Aurillac, Pope Sylvester II 470, 594 Gerbert, M . 394, 427, 448,"452, 456, 463, 473 Germanus, abbot of Ramsey 581 Germanus of Paris 188 Gcrona 603 Gevaert, F . 63, 87-94, 297, 380, 507, 533 Ghent, St Peter's abbey on M o n t - B l a n d i n 290, 298 Gibson, M . 444 Gillingham, B. 238 Gindele, C . 370 Gingras, G . 480 Gjerl0w, L . 308, 580, 604-5 Glastonbury 507, 581, 583 Glecson, P. 611 Gloria in excelsis Deo (Greater Doxology) 6, 8, 19, 22, 24, 35-6, 38, 68, 148-50, 156-62, 166; added mclismas 196-7, 199-200, 2 0 8 - 9 ; early historv 488, 492, 497-8; farse 234; prosulas 2 0 8 - 9 ; tropes 161, 196,220,223-30,519 Gloria patri et filio (Lesser Doxologv) 25-30, 33, 70, 7 3 - 4 , 8 5 - 7 , 109, 141,200-1,333 Gloucester 582 G m e l c h J . 388 Gneuss, II. 140-1, 310-11 Gocde, N . d e 172,240-1 Gollner, T . 56 Gondekar, bishop of Eichstatt 328 Good Friday 11, 13, 3 2 - 3 , 3 5 - 7 , 39, 251, 265, 319 Gorzc 571,578 G o s c h l . J . B . 384,399

gospel 23, 27, 54-8, 88, 247, 2 9 3 - 4 , 4 9 5 - 6 , 498, 500-4; farse 234 Gottschalk of Orbais 239 Gottwald, C . 339 Grado 482 gradual (book) 287, 289-90, 293-303, 305, 307, 310, 314-15, 318, 320-3, 326, 328, 335-7, 408-13, 420-1, 438-9, 4 4 0 - 1 , 5 2 1 , 531, 570, 596-7, 616, 618 gradual (gradual responsory) (chant) 6, 23, 46, 69, 7 6 82, 122-4, 132, 294, 296-8, 314-17, 3 3 0 - 1 , 377-8, 382, 518, 547, 561; early history 494-6, 499-503; O l d Roman 531, 533-4, 539, 547; prosula 209; see also psalmellus, Milanese Gradual Psalms (Pss. 119-33) 19 G r a n (Esztcrgom) 607 Grandmont 578 Great Entrance (Byzantine) 500 Greater/Lesser Perfect System (sv sterna teleion) 443-4, 446, 450 Greek Sanctus, see Agios Greek Creed 168 Greek Gloria, seeDoxa Gregoire, R. 3 1 3 , 3 2 3 , 3 3 9 Gregorian Congress, Rome 1904 399, 626 Gregory I 'the Great', St, pope 4, 26, 7 4 - 5 , 151-2, 274, 292, 294, 296-7, 313, 478, 4 9 6 - 7 , 502-14, 590, 626, 628-9 Gregory II, pope 510, 512, 515 Gregory V , pope 591, 594 Gregory V I I , pope 558, 614 Gregory X V I , pope 624 Gregory, bishop of T o u r s 309, 488, 552 Grisar, H . 508 G r o s , M . 603 Grospellier, A . 627 Grotefend, H . 7 G u b b i o 589 Gueranger, P. 623-4, 628 Guidetti, G . D . 55,616 G u i d o of Arezzo 316, 346, 357, 384, 386, 388-9, 395, 426-7, 454, 466-74, 476-7, 521, 523 G u i g o (Guigues de Chatel) 61 3-14 Guisborough 323, 582 G u i t m u n d , monk of Saint-Evroult 580 G u m p e l , K . - W . 609 Gushee, L . A . 442, 456, 522 gutturalis 360 G u y de Chalis 610 G u y de Cherlieu 610 G u y d ' E u 610 G y , P . - M . 196, 311, 317, 324, 570, 576, 594 G y u g , R. 607 H a a p a n e n , T . 605 Haas, M . 369 Haberl, F . X . 6 1 6 , 6 1 8 , 6 2 3 - 4 , 6 2 6 H a d d a n , A . W . 297, 507 Hadrian of Nisida 294 Hadrian I, pope 292, 507, 509, 511, 517, 570, 623 Hadrian II, pope 511 Hadrian V , pope 595

H a i n , K . 390 Hallcl psalms (Pss. 113-18) 485-6 Hallingcr, K . 571 Halperin, D . 47 H a m e l , A . 576 H a n , U . 395-6 Handschin, J . 178, 188, 197,200, 240, 347, 530, 580, 583 Hanggi, A . 325 Hannick, C . 4 8 1 , 4 8 4 , 4 8 7 , 4 9 4 Hansen, F . E . 47, 110, 121-2, 126, 340, 556, 578-9 Hanslik, R. 488 Hanssens, J . - M . 73, 77, 185, 200, 251, 296, 345, 490, 506, 511, 569-70 Hardison, 0 . B. 5 - 6 , 33, 251 Harlay, F . de, archbishop of Paris 619 Harmonios, son of Bardesanes of Antioch 486 harp 581 Harrison, F . L I . 18, 40, 104, 150, 238, 250, 266 Hartker of St Gall 572; see also St G a l l , Stiftsbibliothek 390-391 Hartmann of St Gall 146, 572 Hartvic, monk of St E m m e r a m , Regensburg 470 Hartzell, K . D . 580, 582 Hatto, archibishop of Mainz 458 Haug, A . 180 Havino of Faversham 595 H e a r d , E . B. 461 Hebrew ekphonetic notation 367 Heiming, (). 487, 540-1 Heinrich, patriarch of Aquileia 263, 585 Heisler, E . 573 Heitz, C . 571 Helandcr, S. 605 Helena, mother of Emperor Constantine 480 1 lelisachar, abbot of Saint-Riquicr and Saint-Aubin at Angers 517, 569 Heloise 611 Henderson, I. 392 Henderson, W . 317, 319 Henricus (Honorius) of Augsburg ('Augustodunensis') 471-2, 604 Henry II, emperor 169, 189,471 I lenrv of Chichester, canon of Exeter 584 Hereford 34, 209, 388, 583 Herlinger, J. 476 Hermannus Contractus 108, 330, 395-6, 472, 474-6 Hermesdorff, M . 401, 623, 625 Herodian 365 Herzo, A . M . 596 Hesbcrt, R . - J . 89, 131, 185, 296-8, 304-5, 307-8, 321, 336-7, 415, 510-11, 518, 529, 549, 569-70, 573, 575, 578, 580, 582, 584, 589-90, 594-6, 602-3, 610-11 hexachord 449, 455, 467-9, 474-7 Hilary of Poitiers 488, 492 Hildesheim 283, 390 Hildoard, bishop of Cambrai 292 H i l d u i n , abbot of Saint-Denis 528, 553, 571 Hiley, D . 148, 302, 308, 315, 324, 336, 338, 340, 345, 363, 435, 574, 576, 579-80, 5 8 2 - 3 , 5 9 1 , 5 9 8 , 618

Hilkiah, high priest of Israel 520 Hippolvtus, Roman priest 486 Hirsau'471, 571, 578 Hispanic chant, see O l d Spanish chant historia 273, 307 Historia ahbalum (Bede) 509 Historia Franeonuti (Gregory of T o u r s ) 552 Hotter, J . 607 Hofmann-Brandt, H . 200, 204-5, 315, 603, 606 Hohler, E . C . 39, 41, 274, 283, 471, 576, 584, 603 Holder, S. 322, 574-5 H o l m a n , H . - J . 200-1 Holmes, S. 9 Holschneider, A . 178, 180, 386, 580, 583 Holtz, L . 443 Holy Saturday (also Easter Eve, Easter V i g i l , Paschal Vigil, etc.)" 10-11, 1 3 , 3 2 - 3 , 3 6 , 3 8 - 9 , 4 4 , 5 1 , 157, 162, 166,319, 4 3 0 - 1 , 5 0 2 , 5 2 9 Holy Week 11, 32-9, 56, 100, 290, 335-6 Homer (Angilbert) 522 homiliarv 288, 308, 313 homily 26, 313, 495 Honoratus, abbot of Farfa 511 Honorius I, pope 292 Honorius III, pope 595 Honorius of Augsburg 471-2, 604 Hope, D . 291 H o p p i n , R. II. 273 Hornof, V . 250 Hosanna in excelsis (part of Sanctus) 24; prosulas 209, 225,230-1 Hourlier, J . 88, 347, 349, 574-5, 611 Hrabanus (Rhabanus) Maurus 10, 447 Hucbald of Saint-Amand 178, 223, 274, 345, 364, 386, 392-3, 447-52, 459-60, 4 6 2 - 4 , 4 7 3 , 4 7 5 , 5 2 2 - 3 Hucbert, bishop of Meaux 522 Hucke, II. 66, 69-70, 73, 76, 79, 81, 8 5 - 6 , 88, 90, 93, 109, 116, 121-2,296, 370, 372, 385, 487, 490-1, 499, 503,511,514,517, 519, 527, 531, 533, 539-41, 547, 560-2,628 Hudovskv, Z . 607 Huesca 603 Hufnagelschrift 390, 421, 439 H u g h , abbot of C l u n y 575 H u g h of Saint- Victor 194 Hughes, Andrew 7-8, 16, 2 1 - 2 , 24-8, 33, 56, 273-4, 287-9, 295, 303, 308, 319-20 Hughes, Anselm 13, 172, 178, 181, 312, 319 Hughes, D a v i d 201, 520, 598 H u g l o , M . 47, 49, 55, 88, 9 0 - 1 , 104, 116, 140, 150, 152, 158, 168-9, 196-7, 199,213, 234, 238, 240-1, 269, 2 8 7 - 8 , 2 9 5 , 299, 3 0 3 - 4 , 3 1 7 , 3 1 9 - 2 1 , 3 2 3 , 3 2 5 , 32835, 340-1, 346-7, 350, 352-3, 360, 363, 370, 413, 448, 459-60, 463, 470, 472, 491-2, 497, 511, 517-18, 5 2 1 - 2 , 5 2 5 , 5 2 8 , 531, 540, 549, 552-4, 557, 569-70, 5 7 4 - 6 , 5 7 8 - 8 0 , 5 8 5 , 589, 5 9 4 - 5 , 5 9 7 , 6 0 2 , 6 0 9 , 612-14 H u g o Candid us 558 Humbert of Romans 322, 611-12 H u n t , N . 20, 574 Hiischen, II. 458, 594-6, 609, 61 1, 613-14

H u s m a n n , II. 173, 180-1, 186-7, 192, 194,220, 314, 3.36, 339, 460, 481, 557, 560, 599, 603, 605 Mutter, J . 606 h v n m 22, 25-30, 39, 41, 46, 131, 140-8, 172, 197, 216, 239, 305, 309, 336, 488-90, 492-3, 570, 611; processional 34, 1 4 6 - 8 , 2 3 9 , 3 1 8 - 1 9 , 4 8 6 hymnal 288, 305, 308-11, 323, 336, 61 1 ictus 280-2, 627 Idithun 522-3 Ignatius, bishop of Antioch 490 Ildcfonsus of T o l e d o 505 Improperia (Reproaches) 36-7, 265, 528 Indc 598 Ingolstadt 395 ingressa (Milanese) 496, 542, 547-9, (Old Beneventan) 549-50 Innocent III, pope 321, 594 Innocent I V , pope 595 Innocents, Holy 23, 40, 146; liturgical drama 265, 269 Institutes (John Cassian) 491 Institutiones canonicorum 364 introit 6, 19, 22, 36, 38, 44, 46, 109-16, 111-13, 1213, 151, 166, 253, 299, 326, 330-1, 372-3, 456, 518, 526, 5 4 7 - 9 ; added melismas 196-9, 572; early history 494, 496-8; O l d Roman 531, 547-8; tones for psalm verses 58, 6 4 - 5 , 286, 330, 333-4, 4 5 5 - 7 ; tropes 196, 2 1 5 - 2 3 , 5 8 6 - 7 ; see also ingressa, Milanese, O l d Beneventan invitatory antiphon 25, 46, 88, 99-100, 306-7, 309, 330 invitatory psalm (Venitc) 25, 99; tones for 46, 58, 62, 66-8, 67, 323 Irene, empress 530 Irish church, chant and sources 157, 188, 483-4 Irtcnkauf, W . 207, 250, 273, 289 Isidore of Seville 366, 443, 490, 492, 502-3, 505, 515, 558-9 Iso of St G a l l 186,572 ison singing 526 Itemissaest 24, 35, 39, 148, 150 I tier, Bernard 596 Iustus ut palma group of graduals 77-81, 383, 533-4 Iversen, G . 225 Ivrea 338-9 Jacob, A . 325 Jacobite (West Syrian) C h u r c h 481 Jacobsthal, G . 124,473 Jacobus of Liege 201, 476 Jakobs, H . 571 James, St 480, 576 Jammers, E . 46, 130, 250, 273-4, 276, 293, 340, 347, 369-70, 380, 501-2, 525-6, 560 Janson, T . 285 J arrow 509 Jausions, P. 624 Jeanncteau,J. 90 Jeffery, P. 492, 495-6 Jerome, St 296, 309, 313, 492, 504 Jerome of Moravia 326 Jerusalem 1 5 0 , 4 8 0 - 1 , 5 0 2 , 5 2 7

Jesson, R. 540-2, 547 Jewish religious worship 484-5 Johannes de Garlandia 476 Johannes of Avranches 345 Johannes Scotus Eriugena (John Scot) 448, 459, 522 Johannes, bishop of Cambrai 522 John V I I I , pope 508 John John John John John X I X , pope 388, 466 of Ravenna, abbot of Fecamp 579 Cassian 491 Chrysostom, St 482 'Cotton' or 'of Affhghcm' or of Passau 326, 472-3

John Hymmonides 'the Deacon' (Pope John I) 74, 502 3,506, 5 0 8 - 9 , 5 1 7 , 5 6 2 John, abbot of St Martin's and archicantor of St Peter's Rome 505, 507, 509 John, bishop of Syracuse 151, 499, 502, 504, 506 John of Damascus, St 460 John the T e u t o n 611 Johner, D . 46 Jones, Charles 205, 274, 283 Jones, Cheslyn 1-2, 5, 291, 487, 495 Jonsson, R. 183, 196, 274 Jordan of Saxony 611 Joseph II, emperor 622 Josiah, king of Israel 516, 520 jubilus (part of alleluia) 130-7, 1 8 1 , 5 0 2 , 5 3 8 - 9 Julius Caesar 9 Jumieges 56, 186, 579-80, 582 Jungmann, J . A . 5 - 6 , 22, 487, 494, 496, 498 Justin Martyr 486 Justinian, emperor 144, 483, 525 Kahmer, I. 121, 531, 534 Kainzbauer, X . 76 kalendar 9, 13-16, 323, 335-6 kanon 526 Kantorowicz, E . II. 591 Kastl 615 K e i l , M . 366 Kelly, T . F . 181, 200-1, 204-7, 225, 525, 527, 529, 549-52, 580, 589-91 Kempten 141, 310 Kennedy, V . L . 607 K e r , N."339 Kienle, A . 370 K i n g , A . A . 540,557-8 K i n g , A . H . 395-6 Kirchrat, R. 620 K l a u s e r , T . 293,482,514,516 Klosterneuburg 223, 310, 390 Knight, W . F . J . 443 Knowles, D . 19,580-1 K o h r s , K . H . 181, 185 koinonikon 526 K o n r a d , K . 606 kontakion 102,528 Korvey 348,606 Kowalewicz, H . 606 Kramer, S. 339 Krieg, E . 267

K r o o n , S. 605 kyriale 302, 313-17 K v r i e eleison 6, 8, 19, 22, 28, 36, 38, 148-56, 162-3, 166-8, 183, 214; early history 497-8, 504; invocations during Office 27, 30, 35; with Latin text, tropes, and prosulas 196, 210-13, 223, 434-5, 519, 554; in litanies 51 L a Feillec, F . de 620 Labhardt, F . 195, 571-2 lai 188, 195,248,266 Lambilotte, L . 573, 623 Lambres, B. 613 Lament of Rachel (Lamentatio Rachelis, O r d o Rachelis) 251, 265-7,(266) Lament of Marv (Planctus Mariae, Maricnklage) 251, 265-6 Lamentations of Jeremiah Lamothe, D . R. 574 Landulphus 540 35-6, 38, 55

L e o I X , pope 275-6 L e o X I I I , pope 626 L e o n 559 Leoninus 285 Leroquais, V . 309, 319-20, 322, 324, 574-5 lessons 23, 25-30, 35-6, 38-9, 82, 305, 307, 491, 4 9 5 6, 500-3, 5 5 2 - 3 ; chants to accompany procession 246-50, 5 0 0 - 1 ; farsed 196, 225, 2 3 3 - 8 ; recitation formulas for 4 6 - 9 , 54-8 L e w , K . 1, 102, 121-2, 149, 161-2, 183, 362-3, 371, 519-20, 5 2 5 - 3 0 , 5 5 4 , 5 5 8 , 5 8 5 , 5 9 1 Lewes 54, 322, 575 Liber de correct ione antiphonarii (Agobard of Lyon) 570 Liber de ordine antiphonarii (Amalarius of Metz) 569 Liber de viris illustribus (Gennadius) 291 Liberhymnoriim (Notker) 572 Liberofficialis (Amalarius of Metz) 490, 569 Liber pontificalis 156-7, 165, 495-6, 503, 505-6, 510-11 Licinius, emperor 484 Lickleder, C . 623 Liechtenstein, P., publishers 623 Liege 25,471 L i l l e 349 Limoges, and monastery of Saint-Martial 224, 238, 265, 304, 305, 314, 316, 325, 332, 351, 509, 511, 564, 578,596-601 Limoges, Council of (1031) 599 L i n c o l n 18 Lindisfarne 294 Lindisfarne Gospels 294 Lindsay, W . M . 443 L i n k o p i n g 605 Lipphardt, W . 250-1, 264, 284, 304, 325, 329, 380, 421,569-70 liquescence 341, 343, 348-9, 352-3, 357-8, 360, 371, 388,397,400,429,431 L i s b o n 603 litany 2 0 , 2 7 , 4 4 - 5 , 5 1 , 5 3 , 100, 149-52,(151), 183, 212, Little Hours (Day Hours) 310-11 Littlehales, H . 287 18, 29-30, 34, 38, 85, 88,

L a n d w e h r - M c l n i c k i , M . 28, 148, 150-6, 167, 211, 295, 315, 336, 419, 531, 606 Lanfranc 19,582,604 Lantpertus 572 Laodicea, Canons of 486 L a o n 39-41, 169, 233-7, 243, 265, 270, 299, 347, 349, 373,448,585,608 lauda 250 laudes, Gallican 188-9, 500; in O l d Spanish mass 1889, 500-2, 560; in O l d Spanish office 493 Laudes regiae 323, 591 L a u d s 18, 2 0 - 2 , 2 8 - 9 , 34-6, 38, 85, 88, 249 L a u m , B . 365 Lawley, S . W . 321 Lazarus, plav of 269 L e Holladay", R. 452 L e M a n s 573 L e Puv 39-41, 243, 249 L e Roux, IVL P. 458 L e Roux, R. 298, 308, 578-9 Leander, brother of Isidore of Seville 505 L c b c u f , J . 620 Lechner, J . 1 Lcclercq, H . 552, 618 Leclercq, J . 575 lectionarv 288, 291, 293-4, 297, 308, 313, 320, 322-3, 408-9,420-1,492,552-3 Lectionarv (Comes, Capitulary) of Wiirzburg 294, 502 L e d won, j . 308 Leeb, H . 480, 487, 490 Lefevre, P. 614 legenda 26 legendar 313 L e g g , J . W . 289,317,319 L e i d r a d , archbishop of L y o n 517 L e i p z i g 390 L e j a y , P . 494,540 Lemaric, J . 530, 602 Lent 8, 1 0 - 1 3 , 2 3 - 4 , 3 1 - 3 , 4 4 , 7 0 , 104, 117 L e o III, pope 458, 517 L e o I V , pope 51 I

liturgical drama 46, 250-73, 314-17, 325 Liturgy of St Basil 482; of St James 481, 498; of St John Chrysostom 482; of St Mark 481 Liutward, Bishop of Vercelli 185-6 Loew (Lowe), E . A . 492, 590, 607 L o n d o n 584 Longpont 610 Lord's Prayer, see Paternoster Lorenzana, cardinal 558 Lot, F . 571 Lothar I, emperor 458 Lothar II, emperor 522 L o u i s ' t h e Pious', emperor 292, 517, 522, 528, 553, 570, 598 Low Sunday 13 Lowe (Loew), E . A . 492, 590, 607 Lucca 354; St Fridian at 594 lucernarium (Old Spanish) 493; (Milanese) 494

Lucidatium (Marchcttus of Padua) 476 L u d m i l a , St 606 Ludus Danielis 41, 251, 266, 270-3 L u l l v , J . - B . 171 L u m e n Christi, intonation 38 Lund 604-5 L u n d c n . T . 605,615 Lutolf, M . 150, 295, 313, 352, 389, 531 L u t z , C . E . 448 L v d d 584 Lyon 87,570,614 Maban 507 Mabillon, J . 622 McArthur, A . A . 7 M c C a r t h y , M . C . 488 M c G c e . t . 252-3 M c K i n n o n , J . 291, 294, 484-7, 489-90, 492, 495, 4 9 8 9, 502 M c K i t t e r i c k , R. 5 , 4 4 8 , 5 1 6 M c R o b c r t s , D . 584 Macrobius 443 madrasha 486 Madrignac, A . 131 Magistrctti, M . 493-4, 540 Magnificat, canticle 21, 29, 35, 39, 43, 99, 431; antiphons for 88, 9 6 - 9 , 105, 305-8, 333; tones for 58, 64, 310, 323 Mainz 347, 441, 594; abbey of St Alban 324,417 Mallet, J . 590 Malmesbury 581 Mandatum ceremony 35, 251 maneriae 476 Mansi, G . D . 504, 516 Mantua 351 manual 324 Marcellus (Moengal) of St Gall Marchettus of Padua 476 Marchiennes 578 Marcusson, O . 196, 204 Marian office (Brigittine) 615 Mark, St 481 Marosszeki, S. R . 609-10 marriage 42, 44, 324 Marseilles, abbey of Saint-Victoire 602 Martial, St 599 * Martianus Capella 4 4 3 , 4 4 8 - 9 , 4 6 0 Martimort, A . - G . 1 , 2 9 4 , 5 0 1 - 4 Martin I, pope 505 martyrology 297, 313, 322; Hieronymian 313; Usuard's 313 Marxer, O . 150,571-2 Mary, Blessed V i r g i n , Mass of 18, 439; H o u r s of 18; Purification of 12, 31, 100, 102, 105 Mas, J . 352 Mass 3 - 7 , 16, 18-19, 2 2 - 5 , 31, 3 4 - 7 , 45, 290; early history 494-503, Mass for the Dead 44; Mass of the Paschal Vigil 38; Mass of the Presanctified 33; votive 18, 44; see also H o l y Saturday Matins, see Night Office matutinarium ( O l d Spanish) 493 186, 572

Maundy T h u r s d a y 11, 13, 31-6, 44, 319 Mayeul, abbot of C l u n y 575, 578 Mechelen (Mahnes) 618, 623 Medicean gradual 397, 615-19, 623-6 Meier, B . 616 Melk 595, 615 Melkite church 481; Melkite Syrian chant 460 Melnicki, see Landwehr-Melnicki melodiae (melismas in O l d Roman and Milanese chant) 187-9, 4 3 6 - 7 , 5 0 2 , 5 3 8 - 9 , 5 4 2 , 544-6 mensural notation 156, 165, 167-8, 397 Merccnier, F . 105 Merkley, P. 90, 541 Methodius, St 482 Mettenlciter, D . 472 Metz 87, 299, 304, 325, 329, 348-9, 471, 509-10, 5 1 6 17,520, 564, 569-72, 609-11 Miazga, T . 149, 168-9, 171, 606 Michael II, emperor 528 Michael, monk of Pomposa 389 Micrologus ( G u i d o of Arezzo) 346, 384, 426-7, 466, 468-9, 474, 476 Micmlogus de ecclesiasticis officiis (Bernold of Constance) 607 M i l a n , Edict of (313) 484 Milan and Milanese (Ambrosian) chant 87, 90, 101, 105, 130-1, 140-1, 169, 1 8 7 - 9 , 2 0 0 , 3 0 9 - 1 1 , 3 2 1 , 3 5 2 , 354, 392, 4 3 6 - 7 , 4 7 8 , 4 8 2 - 3 , 5 1 8 , 5 2 4 - 7 , 5 2 9 - 3 0 , 538, 550-3, 556-7, 559, 561-2, 585, 611; early history of office chants 490, 4 9 2 - 4 ; of mass chants 497, 4 9 9 503; music, and comparison with Gregorian 540-9 Miller, J . H . 1 Milveden, I. 605 Missa maior 20 Missa Chrismalis 35 Missagraeca 525, 528, 571 Missa matutinalis 20 missal 287, 289, 293-4, 303, 314-15, 319-20, 322-3, 335-6, 418-19, 507, 595, 615, 618 Missale Bobbiense 292 Missale Francorum 292 Missale Gallicanum vetus 292 Missale G o t h i c u m 292, 552 Misset, E . 172, 194 Moberg, C . A . 1 4 0 , 1 7 2 , 3 1 0 - 1 1 , 6 0 5 Mocquereau, A . 77, 285, 370, 379, 626-8 mode 47, 58, 61, 66, 88, 91, 99, 127, 167, 273-4, 298, 326, 328-35, 451, 454-77, 479, 520-2, 525, 527, 539, 541,559-60 Moderini, A . 352 Moeller, E . 324 Moengal (Marcellus) of St G a l l 186, 572 Moggio 419 Mohlberg, L . C . 2 8 1 , 2 9 1 - 2 , 5 5 2 Moissac 310, 602 Molitor, R . 395-6,615 MoIIer, H . 303, 308, 363 M o n e , F . J . 281, 552 Mone Masses 281, 552 MonetaCaglio, E . 437,541-2 Monkwearmouth 507, 509

monochord 328, 387, 451, 469-71, 473; Bocthius' division of 4 4 4 - 5 ; division in Dialogus de musica 463-4 M o n t - B l a n d i n , see Ghent M o n t - S a i n t - M i c h e l 579, 582 Monte Gargano, basilica of St Michael 319, 458 Montecassino 354, 508, 550, 563-4, 589-91, 594-5 M o n z a 328, 338-9, 351, 419, 585 M o o s b u r g 55 Morawski, J . 605-6 Morin, G . 291,294,488,512,553 M o u n t Sinai, monastery 481 Mozarabic chant, see O l d Spanish chant M u h l m a n n , W . 452,461 M u l l e r , H . 448, 452, 472 M u l l e r , H . F . 220 M u r p h y , J . M . 116-17, 120,531 M u r r a y , G . 379 Musaeus of Marseilles 291, 293, 297, 492 Musica disciplina (Aurelian of Reome) 364, 448, 456-8, 522 Musica enchiriadis (Anon.) 240, 328, 345, 386, 393-4, 448,452-3,460,462 M y n o r s , R. A . B . 443 Naples 294 Narbonne 330, 597 Nejedly, Z . 250,606 Neo-Gallican chant 609, 618-21, 623 Nestorian (East Syrian) C h u r c h 481 Netzer, H . 319 N e u f v i l l e . J . 488 neuma, melisma for each mode 331-3, 345, 453; musical phrase sung on one syllable 341, 3 4 5 - 6 ; neuma triplex 200, 345 ncume 3 4 0 - 1 , 3 4 5 - 6 Nevers 85, 146,217,310,448 New Year's D a y , see Circumcision Nicaea, Council of (325) 10, 169 Nicene Creed, see Credo in unum D e u m Nicholas, St, plays of 269 Nicholas III, pope 595 Nicholas of Clairvaux 194 Nicholson, E . W . B. 304,405 Nicolau, M . G . 285 Nicomachus 444 Nidaros (Trondheim) 308, 604-5 Nidibrius, bishop of Narbonne 517 Night Office 18-22, 2 5 - 7 , 32, 34-9, 66, 70, 83, 85, 8 8 9,99, 104, 290,307,309-10 Nivelles 298 Nivers, G . 620 Noblat, monastery of Saint-Leonard 597 nocturn 25-7, 3 4 - 5 , 3 9 Nocturns, see Night Office Noeannc melodies 331-3, 451, 453, 455-6, 477, 527 Nonantola 150, 219, 224, 316, 352-4, 570, 585 None 18, 2 0 - 1 , 29-30, 32, 35-6, 85, 249 N o r b c r g , D . 279, 281-3 Norbcrt, St 614 N o r d e n . E . 285

Nortier, G . 339 Norton, M . L . 251, 261 Notker 'Balbulus' ('the Stammerer') of St G a l l 146, 173, 178, 185-6, 200, 265, 286, 374, 516-17, 522, 530, 572, 583, 585-7 Novalesa, L a 351, 586, 598 Nowacki, E . 47, 76, 89-90, 526, 531, 533-4, 539, 560 Noyon 349,411 N u n c Dimittis, canticle 22, 30-1 O-antiphons 29, 88, 91, 9 8 - 9 , 105, 432-3 Octo toni de musicae art is cum suis differentiis (Regino o f P r i i m ) 458 Odclman, E . 196 Odes of Solomon 485 Odilo, abbot of C l u n y 575 O d i n g t o n , W . 326 O d o , abbot of C l u n y 387, 463, 575 O d o of Arezzo 326," 328, 463, 576 Odorannus of Sens 326, 387, 470 Oesch, H . 4 6 3 , 4 6 6 , 4 7 2 - 4 offerenda (Milanese) 500, 541-2 offertory 19, 23, 38, 46, 102, 121-30, 132, 297, 299, 314-17, 3 3 0 - 1 , 4 5 6 - 7 , 5 1 9 , 5 2 6 , 5 5 4 , 5 5 6 - 7 , 5 6 1 ; tropes 215-16; prosulas 196, 2 0 1 - 4 ; early history 494, 499-500; O l d Roman 531, 534-8; O l d Beneventan 550; see also offerenda, Milanese, sonus, Gallican, and sacrificium, O l d Spanish office (Divine Office) 19, 2 1 - 2 , 25-30, 45, 520, 580; early history 487-94; offices with verse texts 46, 273-9 Office of A l l Saints 19; of the Dead 18,44 Officium stellae 264-5 oktoechos 459-60 O l d Roman chant and sources 63, 70, 87, 90, 109, 120, 130-1,157,162, 166-7, 185, 187-9,223, 338, 389, 4 3 0 - 1 , 4 7 8 , 4 8 3 , 497, 502, 5 1 8 - 1 9 , 5 2 4 - 6 , 5 2 9 , 5 4 1 2, 546-50, 554, 5 5 6 - 7 , 5 6 0 - 2 , 5 6 9 , 5 9 4 , 608, 628; music, and comparison with Gregorian 530-40 O l d Spanish (Hispanic, Mozarabic, Visigothic) rite and chant 122, 169, 285, 305, 309, 312, 321, 415, 478-9, 484, 524-5, 546, 553-4, 556-7, 576, 603; early history of office chants 493; of mass chants 498-503; music, and comparison with Gregorian 556-61 Olivetan Order 595 Olomouc 606 O m l i n , E . 333 Onnerfors, A . 605 orational 311; see also collectar Ordcricus Vitalis 580 ordinal 288, 323, 325, 398, 594 ordinary (chants etc.) 8, 2 2 - 5 , 46, 148-50, 302, 310, 336, 438-9, 519, 521, 561, 580, 603, 606; O l d Roman 531 ordination 42, 44, 291, 324 ordines 288; Ordincs Romani 2 8 9 - 9 1 , 2 9 8 , 5 1 6 , 6 2 2 Ordo monasterii 488 O r d o prophetarum, play 267 O r d o Romanus I 151, 166, 290, 296, 496, 498-9 O r d o Romanus II 185 O r d o Romanus III 166,290

O r d o R o m a n u s I V 152,296 O r d o Romanus V 296, 499 O r d o R o m a n u s V I 74, 296 O r d o Romanus X 499 O r d o Romanus X I I 290 O r d o Romanus X I I I 290 O r d o Romanus X I V 290 O r d o Romanus X V 496, 498-500 O r d o Romanus X I X 503, 505-6 O r d o Romanus X X V I 290 O r d o Romanus X X V I I 538 O r d o Romanus X X X B 290 O r d o Romanus L 291 O r e l , D . 250,606 organ 386-7,394, 439, 450, 470, 5 8 1 - 2 , 6 2 0 organum, see polyphony Origen 309 Origny-Sainte-Benoitc 267 oriscus 341, 343, 345, 348-9, 352-3, 359-61, 371, 383, 388,400 Orleans 447 Orsini, John Cajetan, cardinal, Pope Nicholas III 595 Osbern, abbot of Saint-Evroult 580 O s m u n d , St, bishop of Salisbury 583 Ossing, H . 308 Oswald, bishop of Worcester 581 Otker of St Emmeram, Regensburg 471-2 Otloh of St Emmeram, Regensburg 471-2 Ott, K . 121-2, 556 Otto I, emperor 594 Otto III, emperor 594 Ottosen, K . 304, 308 Ottdsson, R. A . 273,605 Oxford 584 Oxyrhynchus hymn 487 Padua, monastery of Santa Giustina 595 Palermo 201,328 Palestrina, G . P. da 615-16, 626 Pahsca, C . V . 442,476 Palm Sunday 9, 11-13, 32-4, 100, 102, 251, 336 Pannain, G . 476 Paraclete, monastery 611 paraphonistae 538-9 parapter 58, 62-4 P a r e d i . A . 540 Paris 4 0 - 1 , 51, 57, 73, 77, 161, 190, 194, 285, 302, 320, 335, 391, 433, 564; N o t r e - D a m e 194; Saint-Victor 194, 614; Saint-Jacques 612 Parvio, M . 319 Paschal Candle 38 Paschal V i g i l , see Holy Saturday Paschal K y n e (Kyrie 39, Vatican I) 28 Paschal time, see Easter season Paschcr, J . 7 Passau Passion Passion Passion 389 34, 36, 56 Play 266 Sunday 13, 33

Paternoster 24-7, 30, 54, 162, 499, 505, 528; farse 196, 234, 237 Patier, D . 273,606 Paul, St 486 Paul I, pope 515-16 Paul Warnefrid ('the Deacon') 503, 508-9, 516, 590 Paul of Samosata, bishop of Antioch 485 Paulinus of Aquileia 169, 239, 522 Paulinus, secretary of St Ambrose 490 Pavia 353,585 penance 44 Penitential Psalms 31,35 Pentecost, season 10-11,13 Perego, C . 541 Peregrinus play 257, 260, 269-70, 273 pericope 293 Periphyseon (Johannes Scotus Eriugena) Perugia 595 448

pes 342, 344, 348-9, 352-3, 390; pes quassus 3 6 0 - 1 ; pes stratus 3 6 0 - 1 ; pes subbipunctus 342,344 Peter, St 480 Peter the Deacon 508 Peter the Venerable, abbot of C l u n y 575 Peterborough 582 Petershausen 61, 63, 65, 390, 578 Petronax of Brescia 590 Petrus Olavi of Skanninge 615 Petrus de Cruce of Amiens 326 Pfaff, R. 1, 16 Philip II, king of Spain 4 Philippa of Lancaster, queen of Portugal 603 Phillips, N . 2 4 0 , 3 9 4 , 4 5 2 , 4 7 0 Philo 486 Piacenza 252-3, 323, 586, 595 Picone, C . 360 Pierre de Corbeil, archbishop of Sens 40 P i k u l i k J . 606 Pilgrim, archbishop of Cologne 328 Pineau, C . 620 Pinell, J . M . 558 Pippin III 'the Short', king of the Franks 292, 299, 515, 552,564,569,581 Pistoia 2 1 6 , 2 5 2 , 2 5 4 , 3 5 4 , 5 8 6 Pitman, G . 121 Pitra, J . B. F . , cardinal 626 Pius V , pope 309, 618 Pius I X , pope 624 Pius X , pope 626 Placebo 19 plainchant musical 620-1 Planchart, A . E . 196, 215-17, 220, 223, 238, 313, 580, 583,585,589,596,598 planctus 239, 265-6 Planer, J . H . 325,329 Plato 443 plica 358 Plocek, V . 339,606 Plombariola 589 Plummer, C . 506 Pocknee, C . 619 podatus 342, 344

passionary 288, 308, 313 Passiontide 75, 92, 144

Podlaha, A . P . - A . 606 Poisson, L . 620 Poitiers 144 Poland 149, 171 Polheim, K . 285-6 polyphony 32, 36, 41, 43, 7 3 - 4 , 77, 325, 333, 387, 452, 470, 4 7 6 - 7 , 5 6 4 , 576, 582-3, 603 Pometium (Marchcttus of Padua) 476 Pomposa 389, 466 Ponchelet, R . 360, 382-3 Ponte, J . P. 364,456 Pontefract 322 pontifical 42, 287-8, 291, 324, 328, 424-5, 591, 594, 606 Poore, Richard, bishop of Salisbury 583 porrectus 342, 344, 3 4 8 - 9 , 352-3,"390, 397; porrectus flexus 342, 344 Porter, W . S. 285, 497, 552 postcommunion (prayer) 24, 35, 39, 49, 291 Pothier, J . 365, 379, 397, 624, 6 2 6 - 7 Potiron, H . 392, 448 Pozzuoli, abbey of St Peter 305 Practica artis musicae (Alfred) 595 Prado, G . 55, 169, 557 Praeconium paschale, see Exultet Prague 225, 606 prayers, recitation formulas for 46-54, 162 precentor 39-40 preces: at C o m p l i n e 30; litany in Gallican and O l d Spanish rite 151, 317, 497, 5 0 0 - 1 , 554 Preface (of mass) 23, 4 9 - 5 0 , 162, 291 Premonstratensian O r d e r 613-15 Premontre 614 Premunitos autem esse voluntas pressus 360-1 P r i m , J . 620 Prime 18-21, 29-30, 85, 249 Priscian 366 procession, liturgical 3 0 - 3 , 4 4 - 5 , 51, 82, 100, 102, 1045, 221, 239, 251, 253, 2 6 4 - 5 , 269, 290,302, 318-19, 336; see also antiphon, processional and hymn, processional processional (book) 310, 315-19, 322-3, 603 Procter, F . 289,321 prokeimenon 495 Ptologus de online antiphonatii (Amalarius of Metz) 296, 569 proper (chants etc.) 8, 2 2 - 5 , 302, 314, 526 prophecy (Gallican, O l d Spanish, Milanese) 500-2 prosa 492 prose (sequence text) 173 ; see also sequence prosula 3 2 , 4 3 , 183, 1 9 6 - 2 1 4 , 2 2 5 , 2 3 0 - 1 , 2 8 6 , 3 1 4 - 1 7 , 333,572 Proszeky, G . 607 Prudentius 142 Pri'ifening 578 P r u m 328, 4 5 8 - 9 , 471 psallcnda (Milanese) 494, 541 psalm tone 46, 58-64, (59-60), 66, 89, 92, 99, 158, 286, 326-35, 453, 560; Milanese 541; O l d Roman 531, 539; O l d Spanish 559 610

psalmellus (Milanese) 495, 500-3, 541-2, 547 Psalmi Familiares 19-20 psalmo (Old Spanish) 495, 500-3 psalmody: antiphonal 70, 122, 489, 559; direct 77; responsorial 70, 91, 122, 489, 559 psalms 25-30, 39, 45, 58, 308-10, 484-6, 488-95 psalter 288, 305, 308-11, 322-3, 336 Psalter: Gallican 66, 83; Hebrew 309; Roman 66, 309 Pseudo-Alcuin 185 Pseudo-Bernard of Clairvaux 326 Pseudo-Bernelinus 472-3 Pseudo-Dionysius the Areopagite 528 Pseudo-Odo 326 Ptolemy 444, 461 punctum 341-2, 344, 348-9, 352-3 Pustet, F . , publishers 616, 618, 623-6 Pythagoras 444, 470 Quadragesima (Sunday) 10-11, 13 Ouadripattita figura (Otkcr) 471-2 Ouaestiones in musica (Rudolf of S a i n t - T r o n d or FYanciscus/Franco of Liege) 326, 472 Quarr A b b e y 624 quarter-tones 361,388 Quedlinburg 570 Quentin, H . 313, 626 Q u i c u m q u e vult (Athanasian Creed) 30, 168, 333 Quid est cant us? (Anon.) 345-6, 365, 384 Quierzv, Svnod of (838) 570 quilisma 341, 343, 345, 348-9, 352-3, 358, 371, 383, 385,388, 392,397,400,453 Quirionez, F . de, cardinal 618 Quinquagesima Sunday 10, 13, 83 Raasted, J . 332,527,605 Raby, F . J . E . 279 Radbod (Rathbod), archbishop of T r i e r 328, 458 Radegunda, Queen 144 Rado, P. 339,607 Rajecky, B. 607 Ramsey 581 Randef, D . 503, 558-60 Ranke, E . 294 Rankin, S. K . 251-2, 257, 260, 351, 369, 372, 572, 580, 582,586 Rasmussen, N . K . 324 Ratcliff, E . C . 188, 498, 500, 552 Ratdolt, E . 396 Rathbod, archbishop of T r i e r 458 Ratisbon, see Regensburg Ratpert of St Gall 146-7, 572 Ravenna 217, 317, 354, 482-3, 527, 530, 550 recitation formulas 46-58, 162,616 Reckow, F . 476 Reconciliation of Penitents 31, 33, 35, 44 Regensburg, and monastery of St E m m e r a m 217, 315, 328, 363, 373, 470-1, 564, 578, 606, 616, 623-4, 626 Regino of Prum 89, 326, 328, 448, 454-5, 458-9, 522-3 Reginold, bishop of Eichstatt 205, 274 Regula Magistri, see Rule of the Master Regula ns ( oncordia 19,254,581

Rchlc, S. 292,589 Reichcnau 285, 325, 328, 330, 390, 395, 570-1, 585, 606 Rcichert, G . 173 Reier, E . J . 586 Reims 57, 349, 448, 552, 605 Rella, A . 626 Remigius of Auxerre 448-9, 463, 522 Remigius (Remedius), bishop of Rouen 515 Renaudin, A . 574-5 Renoux, A . 481 Reome, abbey of Saint Jean 456 Reproaches (Improperia) 3 6 - 7 , 265 Requiem 44 reservation of the sacrament 24 responsorium (Gallican, at mass) 500-2; ad lectionem (Milanese) 5 4 1 - 2 ; cum infantibus/pueris (Milanese) 494, 541, 5 4 4 - 5 ; in baptisterio (Milanese) 494, 541-2, 544; in choro (Milanese) 494, 541; post h y m n u m (Milanese) 541 responsory 25-30, 35, 37, 39, 273-9, 291, 296, 305-7; early history 4 8 9 - 9 6 , 5 1 7 responsory, great (responsorium prolixum) 2 1 - 2 , 2 5 7, 29, 32, 46, 69-76, 7 9 , 8 2 , 9 3 , 9 9 , 104, 109, 114-17, 120, 122, 305-7, 330-2, 336-8, 456-7, 563, 569, 578, 582, 600, 610; melismas 76, 196, 200-1, 2 0 4 - 7 ; O l d Roman 531, 533; tones for verses 46, 48, 58, 62, 6 5 - 6 , 158,286,330,560 rcsponsorv, short (responsorium breve) 22, 2 8 - 9 , 39, 46,85-8,91,305-7,310 Retracthues (St Augustine) 499 Rhabanus (Hrabanus) Maurus 10, 447 Rheinau 334, 338-9, 578 Ribav, B. 77 Richard II, Duke of Normandy 387, 564, 579 Richard of Saint-Victor 194 Richerius, abbot of Montecassino Ricmann, H . 395, 442 Righetti, M . I Ripoll 602-3 ritual 324 591

552-4, 556, 560-2, 564, 569-73, 576, 590-1, 594-6, 604, 608, 615-16, 618, 622-3, 626, 6 2 8 - 9 ; see also O l d Roman chant R o m e : Lateran palace, basilica of St John 290, 292, 493, 508, 594, 596; chapel of St Lawrence 594; Vatican, basilica of St Peter 290, 292, 309, 493, 508 rondeau 247-8 Ronnau, K . 149, 199-200, 2 2 3 - 4 , 4 5 2 rotta 199,572 Rouen 34, 137, 147, 2 6 3 - 5 , 2 6 9 , 3 3 5 , 3 9 9 , 515-16; monastery of Sainte-Catherinc-du-Mont 580 Rousseau, O . 624 Rudolf of S a i n t - T r e n d 326, 472 R u i n i , C . 595 R u l e : of St Augustine 488, 614; of St Benedict 70,141, 488, 4 9 1 - 3 , 609, 611; of St Caesarius 488, 492; of Chrodegang of M e t z 321, 516; of St Columbanus 488; of the Master (Regitla Magistn) 488, 491-2 R u o d m a n n , abbot of Reichenau Russell, T . A . 468 Sablavrolles, M . 602 Sachs, K . - J . 470 Sackur, E . 574 sacramentary 2 8 7 - 9 , 291-4, 2 9 7 - 8 , 303, 320, 324, 4 2 0 1, 428-9, 516, 518, 540, 569 Sacramentary, Gclasian 10, 292, 297; of Gellone 292; Gregorian 2 9 2 - 3 , 2 9 8 - 9 , 503, 5 0 9 - 1 0 ; Hadrian 17, 292, 509; Leonine 291; of T r e n t or Salzburg 292; of Verona 291 sacrificium ( O l d Spanish) 122, 493, 500, 560 Sahagun 558 St Albans 582 Saint-Amand 152, 292, 448, 578 Saint-Beno?t-sur-Loirc, monastery at Fleury, see Fleury Saint-Bertin 448 Saint-Denis 67, 298, 304, 321, 333, 338-9, 354-5, 413, 515, 528, 554, 571, 582-3 St E m m e r a m , see Regensburg Saint-Evroult 224, 316, 328, 579-80 St Florian 389 571

Rivera Recio, J . F . 557 Robert de Grantmesnil, abbot of Saint-Evroult Robert of Molesme 609 Robert, L . 47, 54 Robert, M . 579 Robertson, A . W . 150 Rocca-Serra, G . 443 Rodradus, abbot of Corbie 298 Rodulphus G l a b e r 578 Roederer, C . 104, 596 Rogation Davs, Rogation Sunday 290 Rojo, C . 169, 557

580

St Gall 146-7, 163, 186, 197, 199, 215-17, 220, 223, 299, 304, 334, 338-9, 347, 350, 357, 360-1, 373-4, 382, 399, 563-4, 571-5, 583, 586, 608, 623 St Georgen 471, 578 Saint-Martial, see Limoges St Martial/De L a Fage A n o n y m o u s 476 Saint-Maur-des-Fosses 205,321, 338-9, 575 Saint-Quentin 4 Saint-Riquier 141, 325, 330, 459, 517, 521, 571 St Sabas, monastery near Jerusalem 481 Saint-Vaast, see Arras Saint-Victor, monastery near L e M a n s 458 Saint-Victor, Augustinian abbey in Paris 194 Saint-Victor-sur-Rhins 575 Saint-Yrieix 317, 597, 608 salicus 360-1, 3 8 2 - 3 , 392 Salisbury 34, 51, 5 8 3 - 4 ; see also Sarum Sallmann, N . 443 Salmon, P. 320, 322, 487, 594 San Millan de la Cogolla 602

11, 32, 51, 100, 147,

Romanian letters, see significative letters Romanos the Melode 529 Romanus, Roman cantor 374, 572-3 Rome, Roman liturgy and chant 70, 73-4, 81, 100-2, 104, 150-2, 157, 165-6, 169, 289-93, 296-7, 2 9 9 300, 304-5, 309, 312, 320-1, 324, 352, 364, 374, 388, 391, 395-6, 413,448, 458, 466, 479-80, 4 8 2 - 4 , 4 8 6 , 488, 492-4, 496-521, 524-7, 5 3 0 - 1 , 5 4 0 - 2 , 5 4 7 , 549,

San Salvatorc on Monte Amiate 322 Sanctorale 300-2, 305-7, 310-11, 335-6 Sanctus 8, 1 9 , 2 3 - 4 , 6 8 , 148-50, 161-7; prosulas 209, 225, 2 3 0 - 1 ; t r o p e s 196, 220, 223, 225, 230-1,519 Sanctus post evangelium (Gallican) 500-1 Sandon, N . 150,295 Sandrat of St M a x i m i n , T r i e r 571 S a n t c u i l J . - B . d e 618 Santi, A . de 626 Santiago de Compostela 39-41, 234, 576, 603 Sarum use and sources 32, 36, 38, 47-8, 56, 71, 90, 105-6, 141, 143, 150, 172, 3 0 1 - 2 , 3 1 0 , 320, 326, 333, 483,583-4,603,611 SauxiManges 575 scandicus 341-2, 344, 348-9, 352-3, 383, 390 Sceptrum prosula (cf. Regnum tuum solidum) 228-30 Scheiwiler, A . 571 Schildbach, M . 148, 165-8, 223, 315, 336, 606 Schlager, K . 6, 68, 130-5, 137-8, 173, 187, 204, 209, 336 Schmid, H . 384,393-4,452 S c h m i d , T . 604-5 Schmidt, Hans 76, 531 Schmidt, Hermann 7, 33, 519 Schmitz, A . 238 Schneider/London/Naples Anonymous 476 Schoenbaum, C . 606 Schubigcr, A . 374, 571-2 Schueller, H . M . 442 Schuler, E . A . 251 Schuler, M . 521-2 Schwyzer, E . 365 Scolicaenchiriadis (Anon.) 384, 386, 393-4, 448, 452 scrutiny of catechumens 23, 33, 512 Seav, A . 476 Seckau 389 secret (prayer) 23, 49, 291 seculorum amen (close of Gloria patri) 61 Sedulius 142,284 Senarius 502 Senlis 298 Sens 39-41, 169, 171, 207, 233-5, 238, 243, 249-50 Septuagesima Sunday 13 sequela 173 sequence 2 3 , 4 1 , 4 6 , 104, 131, 134, 153, 172-95, 207, 212, 221, 225, 239-40,248, 266, 273, 279, 286, 310, 3 1 3 - 1 7 , 3 2 3 , 3 3 0 , 3 3 6 , 386-7,394, 417, 4 4 0 - 1 , 4 7 9 , 494, 511, 519, 521, 546, 560, 572, 576, 580, 583, 5858, 591-2, 596-9, 603, 606; (versus) with double cursus 179-80, 239-41; tropes 196, 223 scquentiarv 302, 313-17, 323, 597 Scrgius I, pope 102, 165, 499, 505 sermon 26, 313 serpent 620 Servatius, V . 615 Sesini, U . 353 Severus of Antioch 460 Sevcstre, N . 197, 220 Sexagesima Sunday 10,13 Sext 18, 2 0 - 1 , 29-31, 85, 249 Sherley-Price, L . 10, 102, 506, 629

S i b e r t d c B e k a 615 Sidler, H . 121, 123, 127 Sidonius Apollinaris 492 Siffrin, P. 281 Sigl, M . 150 significative letters (Romanian letters) 56, 374-8, 572 Silos, abbey of Santo D o m i n g o 305, 328, 338-9, 415, 559,602 Simeon, secundus of the Roman schola cantorum 515 16 S k e a t , W . W . 294 Slavonic liturgies and chant 482; ekphonetic notation 367 Smith, J . A . 484-5 Smits van Waesberghe J . 180, 201, 209, 363, 374, 384, 386, 389, 427, 442, 466, 468, 471-3, 521, 538, 560 Snow, R. 529, 531 Socrates 489 sogitha 486 Soissons, abbey of Saint-Medard 298 Solesmes, abbey of Saint-Pierre 148-9, 302-3, 379, 383, 397, 4 0 0 - 1 , 4 3 3 , 5 7 3 , 5 7 8 , 591, 595, 614, 623-8 Somtiium Scipionis (Cicero, commented by Macrobius) 443 song, Latin liturgical (conductus, versus, cantio) 39-43, 46, 193-4, 238-50, 266-7, 269, 273, 279, 284, 576, 598,606 Song of Simeon, see N u n c Dimittis Song of Zacharia, see Benedictus sonus, Gallican 500, 554, 5 5 6 - 7 ; O l d Spanish 493-4, 500, 560 Soriano, F . 616, 626 Souvigny 575 Sowa, I L 330 Sozomen 489 Spanke, II. 188, 239-40, 242, 248, 250 Speculum musicae (Jacobus of Liege) 476 Sponsus, play 194, 267, 271 Spunar, P. 606 Srawlev, J . 11. 4 Stablein, B . 47, 51, 53-8, 62, 66, 74, 76, 88, 92, 102, 104, 109, 116, 130, 140-4, 146-7, 150, 155-7, 165-6, 168-9, 172, 178, 180-1, 183, 185, 188, 195-7, 199201, 205-6, 209, 220-1, 223-4, 234, 236, 238, 2 4 0 1, 248-50, 278, 293, 295, 303, 310-11, 336, 340, 363, 370, 395, 431, 484, 487, 494, 503, 508, 510-11, 514, 526,531, 538, 540, 5 5 2 - 4 , 5 6 0 , 5 6 2 , 573, 576, 591-2, 603, 606, 628 S t a h l . W . II. 443 station, stational liturgy 31, 252, 264, 336, 413, 431, 510,516 Stauffachcr, M . 238 Stavelot (Stablo) 459 Steer, G . 267 Steghch, R. 326,472 Stein, F . A . 250 Steincn, W . von den 181, 185-6, 522, 571-2 Steiner, R. 1, 41, 47, 64, 66-8, 109, 121-3, 125, 140, 196, 200-1, 204, 220, 225, 279, 295, 308-9, 310, 503,519, 574, 596 S t e n z l J . 339

Stephan, R. 225 Stephen II, pope 515,517,571 Stephen III, pope 517 Stephen I X , pope 591,594 Stephen I, St, king of Hungary 607 Stephen, bishop of Liege 274 Stevens, J . 2 5 1 , 2 6 5 - 6 , 2 6 9 S t e v e n s o n , j . 493,581 Stotz, P. 146, 216 Stratman, C . J . 251 Strecker, K . 279 Strehl, R. 221 Stromberg, B . 605 strophici 390, 392, 397, 400; see also apostrophe, bistropha, tristropha Strunk, 0 . 220, 387, 389, 443, 460, 463, 465-6, 525-6, 530 Stubbs, VV. 297,507,581 S t u r m i , abbot of Fulda 590 Subiaco 595 S u b i r a , J . 338 Suchier, W . 284 suffrages 29 Sunol, G . 77, 340, 346, 365, 369, 375, 379, 391, 407, 541,552 Super populum (prayer) 24 Sylvester II, pope (Gerbert of Aurillac) 470, 594 Symmachus, pope 157, 497 Svmons, T . 254, 581 Syon 605 Syrian ekphonctic notation 367 Syrian churches, see Jacobite, Melkite, Nestorian church Szekesfehcrvar (Stuhlweissenburg) 607 Szendrei, J. 391,607,611 Szigeti, K . 607 Szoverffy, J . 108, 140, 189, 273

T h i e r r y , abbot of Jumieges 579 Thionville, Capitularv of (805) 517 T h o d b e r g , C . 529 T h o m a s Aquinas 42, 145, 192 T h o m p s o n , E . VV. 365 Thorlac, St 605 threnos (Old Spanish) 500-2, 560 Thurstan of Caen, abbot of Glastonbury 583 Timaeus (Plato) 443 Timotheus (Paulinus of Aquileia) 522 Tiridates III of Armenia 481 T o l e d o 351, 558-9, 6 0 2 - 3 ; Council of (589) Fourth Council of (633) 492, 515, 558 Tolhurst, J . B . L . 18,25,321

169;

Tonale sancti Bernardi (pseudo-Bernard of Clairvaux) 326,610 tonary (tonarius, tonale) 61, 63, 89, 141, 305, 310, 3 1 5 17,'321, 323, 325-35, 345, 454, 458-9, 462-3, 471, 473, 521, 527, 560, 571, 579,585,595,597, 614 tonus peregrinus 5 8 , 6 2 - 4 Torcello 353 torculus 342, 344, 348-9, 352-3; torculus resupinus 342, 345 Tortosa 603 Toulouse 597 T o u r n a i 397 T o u r s 520, 569; abbey of St Martin 447; Second Council of (567) 489 tract 23, 36, 38, 46, 69, 7 6 - 7 , 82-5, 294, 296, 298, 314-17, 382, 519; early history 495-6, 5 0 0 - 3 ; O l d Roman 531, 533; prosula 209; see also cantus, Milanese tractulus 382 transitorium (Milanese) 499, 542-3, 551-2 T r a u b , A . 448 trecanum (Gallican) 498-9 Treitler, L . 74, 82, 130, 220-1, 238, 242, 367, 372, 520, 596 T r e n t , Council of (1545-63) 609, 615, 618 Ties clerici, play of St Nicholas 269 T r i d u u m 8, 19; 32, 34-9, 55 T r i e r 349, 569, 623-4; abbey of St Martin 328, 458; abbey of St M a x i m i n 458, 571 trigon 343, 345, 361, 385 T r i n a O r a t i o 19-20 T r i n i t y , H o l y 274; T r i n i t y Sunday 11,13 Trisagion 36-7, 497-8, 525, 528 " tristropha 343, 345 trivirga 343, 345 T r o i a 589, 591-3 trope 22, 41, 43, 46, 138-9, 148, 152, 161, 168-9, 183, 196-238, 251, 289, 302, 310, 313-17,323, 336, 479, 5 1 1 , 5 1 9 , 5 2 1 , 5 6 0 , 5 7 0 , 5 7 2 , 5 7 6 , 580, 583, 586-7, 591-2, 596-8,603 troper 289, 313-18, 328, 336, 591-2, 596-8 tropus, meaning'mode' 451, 454 T u o t i l o of St Gall 199, 215, 223, 419, 572 T u r c o , A . 88,90 T u r n e r , D . H . 319 T u r p i n u s 576 T y r e r , J . W . 33

T a c k , F . 171, 395, 397, 618, 620 T a f t , R. 486-9, 491-3, 515 Taliaferro, R. C . 443 Tarchnischvili, M . 481 Tarragona 603 T e D e u m laudamus 2 6 - 7 , 44, 57-8, 6 8 - 9 , 156, 162, 220, 252-4, 261, 269, 273, 420-1, 494, 528 Temporale 300-2, 305-7, 310-11 Tenebrae 3 4 - 8 Terce 18-21, 29-30, 85, 249, 253 T e r r i z z i , F . 319 Tertullian 486 Thannabaur, P. 148, 161-4, 167, 209, 223, 225, 315, 336, 606 T h c o d a l d , bishop of Arezzo 466 'Theodore Studites, St 460 Theodore, archbishop of Canterbury 294 Theodore, bishop of Mopsuestia 487 T h e o d u l f of Orleans 146, 447 Theogerus of Metz 471 - 2 Therapeutae 486 T h i b a u t , A . 590 T h i b a u t . J . B . 122,295,367

Udalricus of C l u n y ( U l r i c h of Zell) 345, 576, 578 U d o v i e h , J . 88,308,326,371 Uhlfelder, M . L . 448 U l l m a n n , P. 607 uncinus 349, 388 Underwood, P. 308, 338, 580 Undhagen, C . - G . 605 Uppsala 604 U r b a n I V , pope 25 Utrecht 328

Vogel, C . 7, 287-9, 291, 293, 324, 492, 514, 516, 527, 552 Vogue, A . de 488,491 Vollaerts, J . W . A . 384 Volpiano 387, 578 Volturno, abbey of San Vinccnzo 589 Vosyka, V . 250 Waddell, C . 194, 310-11, 575, 609, 61 1 Waeltner, E . L . 466 Wagner, P. 39, 41, 69, 85, 117, 146-7, 149, 166, 234, 249, 295, 340, 345, 359-61, 370, 383-5, 389, 502, 557, 573, 576, 603, 623, 627 Wala, abbot of Corbie 570-1 Walahfrid Strabo 553 Waldrammof St Gall 146 Walker, G . S. M . 488 Walker, J . H . 321,594-5 Wallace-Hadrill, J . M . 514 Warren, F . E . 293, 319, 484, 493, 553 Waszink, j . 444 Weakland, R. 197, 199, 274, 448, 452, 540 Wcingarten 564 Wcinmann, K . 615 Weinrich, L . 241 Weisbein, N . 192 Weiss, G . 199,220-1,598 Wellesz, E . 31, 367-8, 489, 501, 525, 527 Wenlock 322 Westminster 582 Weyns, N . I. 614 Whit Sunday (Pentecost Sunday) 8-11, 13, 32, 169, 528; Whitsun Eve 51 Whitby, monk of, author of life of St Gregory 506 Whitby, Synod of (664) 10 White," A . "444 Whitchill, W . M . 39, 41, 576, 603 Wiesli, W . 358, 360, 383 Wilkinson, J . 480 William I, king of England 581-2 William, abbot of Hirsau 471-2, 474, 578 William, abbot of Rievaulx 610 William of Volpiano (or Saint-Benigne, D i j o n , or Fecamp) 331, 386-7, 394, 564, 578-80, 582-3 Willibald, bishop of Eichstatt 205 Willibrord 515 Willis, G . G . 7 Willis, J . 443 Wilmart, A . 294, 574, 585, 626 Wilson, II. A . 319 Wilton Abbey 624 Winchcombe 582 Winchester 74, 163, 1 8 1 , 2 1 1 , 2 1 6 - 1 7 , 2 1 9 - 2 0 , 2 5 4 , 315, 374, 386, 394, 413, 581-3, 586 Winithar 304 Winkler, G . 487 Wintcrfcld P. von 179, 240 Wipo 189 Witt, F . X . 623-4 Wolf, J . 472 Woods, I. 584

Vadstena 605, 615 Vagaggini, C . 5 Valerian, emperor 4 Vallombrosa 578 Valous, G . de 574 Van der Werf, H . 371 Van Deusen, N . 248, 531 V a n i c k y J . 606 Varro 443 Vatican C o u n c i l , Second (1962-5) 628 Vccchi, G . 100, 150, 172, 196, 204, 209, 266, 313, 352, 417 Velimirovic, M . 454, 482 Venantius Fortunatus 142, 144, 146, 224, 282, 284 Venerius, bishop of {Marseilles 297 Venite exultemus D o m i n u m (Ps. 94), see invitatory psalm Vercelli 419, 573 Verheijcn, L . 488 Vcrnet, P. 322,609 Verona 310, 338-9, 353 versiclesand responses 22, 25-30, 39, 45, 309, 312; recitation of 4 7 - 8 versus 39-43, 108, 238-50; at St Gall 146-7; versus

(sequence) with double cursus 179-80, 239-41; versus ad rcpctcndum 109, 496-8; versus ante officium 221; see also Latin liturgical song Vespers 16, 20-2, 2 8 - 9 , 32, 35, 37-8, 85, 88, 104-5, 249 vespertinum (Old Spanish) 493, 560 Vezelay 576 Viadana, L . 621 Vich 603 Victor III, pope 591 Victor of Capua 294 Vidakovic, A . 607 Vigils, see Night Office Villctard, H . 39, 41, 234-5, 238, 249, 470 Vincent, A . - J . - H . 388 Vintimille, C . de, archbishop of Paris 619 virga 341-2, 344, 348-9, 352-3, 397; virga strata 360-1 Visigothic chant, see O l d Spanish chant Visitatio sepulchri 39, 256-7, 262-3, 420-1, 581, 585 vita 2 6 , 8 9 , 3 1 3 Vitalian, pope 526 Vivell, C . 326, 442, 472 Vives, J . 312,559 Vladimir, prince of K i e v 482

Worcester 14-16, 310, 312, 354-5, 581-2 Wordsworth, C . 287, 289, 317, 321 Wormald, F . 13 Wright, C . 554, 564 Wulfstan, cantor at the O l d Minster, Winchester 582 Wvnfrith, see Boniface 387,

Yearley, J . 265 York 53, 292, 297, 5 0 7 , 5 1 8 , 5 8 1 - 3 Y o u n g , K . 33, 37, 39, 251-3, 260, 263, 265-7, 269, 283 Zagreb 607 Zoilo, A . 615-16 Zwiefaltcn 578

^ .n s b u r g}