Skip to main content Accessibility help
×
Home
Hostname: page-component-59b7f5684b-8dvf2 Total loading time: 0.302 Render date: 2022-09-26T23:38:51.674Z Has data issue: true Feature Flags: { "shouldUseShareProductTool": true, "shouldUseHypothesis": true, "isUnsiloEnabled": true, "useRatesEcommerce": false, "displayNetworkTab": true, "displayNetworkMapGraph": false, "useSa": true } hasContentIssue true

Melodic ‘corrections’ in an eleventh-century gradual (Paris, B.N., lat.903)

Published online by Cambridge University Press:  14 July 2009

Get access

Extract

The problem of modally ambiguous chants – which received much attention from medieval theorists – is most clearly demonstrated by juxtaposing different readings of a particular chant. This procedure often reveals transpositions (partial or complete), and other differences, many of which affect the final cadence. For example, the offertory Justitiae Domini, in the Vatican edition and various manuscript sources (e.g. F-Pn lat.776, 780, 1132) ends on E (deuterus); but the St.Yrieix gradual (F-Pn lat.903) and some other early sources (e.g. I-BV VI.34, GB-Lbl Harl.4951) emend the final cadence to end on F (tritus). This changes the maneria of the chant. A critical study of such mode-change is the primary task of this paper.

Type
Articles
Copyright
© The Plainsong and Medieval Music Society 1979

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Notes

1 (p.2) Jacobsthal, G.: Die chromatische Alteration im liturgischen Gesang der abendländischen Kirche (Berlin, 1897)CrossRefGoogle Scholar

2 (p.2) Bomm, U.: Der Wechsel der Modalitätsbestimmung in der Tradition der Messgesänge im IX bis XIII Jahrhundert (Einsiedeln, 1929)Google Scholar

3 (p.2) Lipphardt, W.: Der karolingische Tonar von Metz, Liturgiewissenschaftliche Quellen und Forschungen, 43 (Munster, Westf., 1965)Google Scholar; Huglo, M.: Les Tonaires (Paris, 1971)Google Scholar

4 (p.2) Bomm, op.cit., p.25

5 (p.2) See Le Graduel Romain, iv, Le texte neumatique (Solesmes, 1960, 1962)Google Scholar

6 (p.3) Lipphardt, op.cit. Mode-changes in mass chants are discussed pp.245–257.

7 (p.3) Marosszeki, S.: Les origines du chant cistercien, Analecta Sacri Ordinis Cisterciensis, 8 (Rome, 1952), pp.1179 Google Scholar

8 (p.3) Bomm mentioned three melodies which definitely represent ‘reforms’ in Jahrbuch für Liturgiewissenschaft, 11 (1931), p.405 Google Scholar. A further four are briefly remarked upon by Cardine, E. in ‘Théoriciens et théoriciens’, Études Grégoriennes, 2 (1957), p.35 Google Scholar.

9 (p.3) Huglo, op.cit., p.150

10 (p.4) Huglo, op.cit., p.411

11 (p.4) de Coussemaker, E.: Scriptores, II, p.89 Google Scholar

12 (p.4) Graduale Cisterciense (1960), p.307 Google Scholar

13 (p.4) This piece is not given in protus by any reliable early source; the Dominican gradual gives protus, but as a witness is of no weight, having been influenced by Cistercian practice.

14 (p.4) Again, the protus versions in Guido ( Coussemaker, , Scriptores, II, p.87 Google Scholar), and the Cistercian and Dominican graduals can be disregarded.

15 (p.4) Including all diastematic manuscripts seen by the present writer, except F-Pn lat.1132.

16 (p.5) A special symbol thought to indicate a note between E and F; see however Froger, J.: ‘Les prétendus quarts de ton dans le chant grégorien’, Études Grégoriennes, 17 (1978), pp.145179 Google Scholar

17 (p.5) Perhaps when the manuscript had been removed to StMartial, , ‘en cours de ce même siècle (XIe) ou au debut du suivant’ (Les Sources, p.96)Google Scholar.

18 (p.5) See Huglo, op.cit., p.27. The St.Riquier tonary is there dated ‘un peu avant l'an 800’.

19 (p.5) Adducentur as an alleluia text is equally ancient with Paratum cor, while the others appear to be later. See Schlager, K.: Thematischer Katalog der ältesten Alleluia-Melodien (Munich, 1965)Google Scholar.

20 (p.5) Sources which agree with F-MO H159 (i.e. deuterus on a followed by protus on a) include, not surprisingly, USSR-Lan O.v.I.6, GB-Lbl Add. 12194 and the Premonstratensian gradual.

21 (p.5) Jubilus resumption at the end of verses occurs in the overwhelming majority of alleluias in F-Pn lat.903. See Burt, A.: The Alleluias in BN lat 903 (diss., Catholic Univ. of America, 1969)Google Scholar.

22 (p.6) See Huglo, op.cit., p.410.

23 (p.7) Consider, for example, the special neumes used for the step of a semitone (!) and a tone (!).

2
Cited by

Save article to Kindle

To save this article to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Melodic ‘corrections’ in an eleventh-century gradual (Paris, B.N., lat.903)
Available formats
×

Save article to Dropbox

To save this article to your Dropbox account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you used this feature, you will be asked to authorise Cambridge Core to connect with your Dropbox account. Find out more about saving content to Dropbox.

Melodic ‘corrections’ in an eleventh-century gradual (Paris, B.N., lat.903)
Available formats
×

Save article to Google Drive

To save this article to your Google Drive account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you used this feature, you will be asked to authorise Cambridge Core to connect with your Google Drive account. Find out more about saving content to Google Drive.

Melodic ‘corrections’ in an eleventh-century gradual (Paris, B.N., lat.903)
Available formats
×
×

Reply to: Submit a response

Please enter your response.

Your details

Please enter a valid email address.

Conflicting interests

Do you have any conflicting interests? *