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

Published online by Cambridge University Press:  14 July 2009

Nicholas Stuart
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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.

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Articles
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Journal of the Plainsong & Mediaeval Music Society , Volume 2 , January 1979 , pp. 2 - 10
Copyright
© The Plainsong and Medieval Music Society 1979

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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.1–179 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.145–179 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 (!).