Western Plainchant

T ^ ^ H v c o . ill*

<
X VtMt

. -' ,

4'

7. fZl

'

& u o a A

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 4951, fo. 298 , s h o w i n g the start of the section for m o d e 3 i n

the tonary (cf. E x . I I I . 1 4 . 1 - 2 ) . B y permission of the B r i t i s h L i b r a r y .
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

0x2 6 n p

University Press, Walton Street, Oxford

Oxford
Delhi

Kuala

Seic

Bombay
Lumpur

Xairobi

York

Toronto

(Calcutta Madras
Singapore

Dor es Salaam

Melbourne

Karachi

Hong Kong
Cape

Auckland

Tokyo

T01.cn

Madrid

and associated companies in

Berlin

I bad an

Oxford is a trade mark of Oxford

University Press

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

0 19 816289

of Congress Cataloging

Western plainchant:

in Publication

Data

available
8

in Publication

a handbook / David

Data

Hiley.

Includes bibliographical references and index.

1. Chants (Plain,

Gregorian,

etc.)

History and

criticism.

1. Title.
ML3082.H34

1992
ISBS

182.3T22
0 19 816289

dc20

92

13020

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

encounter

with

plainchant one comes

up against

specialist

terminology and concepts which constitute a real obstacle. T h a t is in the nature of the
subject,

for

ecclesiastical

ritual is essentially exclusive,

remote

from

everyday

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

of the enormous expansion of

plainchant studies in the last few decades. T h e last major work of synthesis in the
English language, Apel's Gregorian

Chant,

is now over thirty years o l d . It has not, of

course, been m y intention to try and replace A p e l , let alone the more comprehensive
Einfuhrung

in die gregorianischen

Melodien

by Peter Wagner f r o m before the F i r s t

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

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

Grove

Dictionary,

is necessarily brief

(but with an excellent bibliography). T h e writings of scholars such as the late Bruno
S t a b l e i n h i s Schriftbild
Geschichte

und

der

einstimmigen

Gegenwarttogether

and articles in Die

Musik

Musik

in

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

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

zur

(1990). T o one work which appeared when the m a i n text was all

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

Oxford

History

Ages to 1300 ( O x f o r d , 1989), and it was not always easy

to avoid unconscious borrowing from it. A t any rate, that volume now takes its place
beside Wagner,

A p e l , and Stablein's Schriftbild

as an essential part of the chant

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

Prince-

usque

ad

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

Table

xii

List of Illustrations

xxi

Analytical

xxii

List of Tables
List ofMusic
Note

xxi v

Examples

on Music

xxx

Examples

xxxi

Abbreviations

xxxiii

Bibliography
I.
II.

Plainchant in the L i t u r g y

Chant Genres

46

III.

L i t u r g i c a l Books and Plainchant Sources

287

IV.

Notation

340
403

Plates
V.
VI.
VII.
VIII.
IX.
X.
XI.

Plainchant and Early M u s i c T h e o r y

442

Plainchant up to the E i g h t h Century

478

T h e Carolingian C e n t u r y

514

Gregorian Chant and Other Chant Repertories

524

Persons and Places

563

Reformations of G r e g o r i a n Chant

608

T h e Restoration of Medieval Chant

622

Index

of Text and Music

Index

of Manuscript

and Printed

Index

of Names

Terms

and

631

Incipits
Sources

638
643

ANALYTICAL

I.

P L A I N C H A N T

TABLE

IN T H E

L I T U R G Y

LI.

Introduction

1.2.
1.3.

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

2
7

1.4.
1.5.

The Daily Round

Mass
"

16
22

1.6.

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

25
25
27
28
28
28
29
29
30
30
32
33
33
34
36
38
39
39

1.7.
1.8.

1.9.
1.10.

II.
>' I I . 1.
11.2.

11.3.

C H A N T

42

GENRES

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

II 4.

xiii

Table

(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

66
in the Saturday Mass

(iii) M u s i c
(iv) C e n t o n i z a t i o n
(v)
II .5.

(iii)
(iv)
(v)
(vi)
(vii)
II .6.
II .7.

II .8.
II .9.

Melismas

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
Graduals i n F
Other Graduals
Tracts
Tracts in Mode 2
Tracts in Mode 8

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

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

(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

118
120
121
121
122
122

(iv) Verse M e l o d i e s

126

(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

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

130
130
132
136

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

140
140
141
142
146
148

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

150
150
151

(iii)
(iv)
(v)
*(vi)

Early Melodies
Italian M e l o d i e s
Melodic Types
Later Melodies

152
154
155
155

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

156
156
157

(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

159
161

(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

161
162
165
168
172
172

(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

173
180
181
183
185
189
196
196
197
199
200
201
204
209
211
213
215
223
233

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.

L I T U R G I C A L

BOOKS A N D P L A I N C H A N T

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

SOURCES

I I I . 1.
111.2.

Introduction
Ordines Romam

287
289

111.3.

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

291
291
293
295
295
296
299
303
304
305
307

Psalters, H y m n a l s , Collectars, Office Lectionaries

(i) Psalters
(ii) H y m n a l s

308
308
310

II 1.7.
II 1.8.

(iii) Collectars
(iv) Office lectionaries
Sequentiaries, T r o p e r s , and K y r i a l e s
Processionals

311
313
313
317

111.9.

Missals

111.4.

111.5.

111.6.

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

319
320
321
324
324
324
325

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.

325
326
331
333
335

N O T A T I O N

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

340
340
341
345
346
347
347
351

IV.3.

(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

352
353
357

IV.4.

(i)
(ii)
(iii)
(iv)
The

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

357
358
359
360
361

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

362
362
364
364
365
366
367
369
370
370
371
373

IV.2.

(i)
(ii)
(iii)
(iv)

IV.5.

IV.6.

IV.7.
IV.8.

(v)
(vi)
(vii)
The

(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

374
380
382
384
385
386
386

(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

388
389
392
395

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

ii

Plate

1.

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

406

Plate
Plate
Plate

2.
3.
4.

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

408
410
412

Plate 5.
Plate 6.
Plate 7.
Plate 8.
Plate 9.
Plate 10.

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

414
416
418
420
422
424

Plate
Plate
Plate
Plate
Plate
Plate
Plate
Plate

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

426
428
430
432
434
436
438
440

11.
12.
13.
14.
15.
16.
17.
18.

V.

P L A I N C H A N T

A N D EARLY

MUSIC

T H E O R Y

V.l.

Introduction

442

V.2.
V.3.

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

443
447
447

(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

448
452
454
454
456
458
459
461
463

(vii)
(viii)
(ix)
(x)

466
470
472
476

V.4.

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

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

VI.6.

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

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;

478
480
484
487
494
495
496
498
499
500
503
503
504
504

the L i s t of C h a n t ' E d i t o r s '

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

505
506
508
509

(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

VII.

T H E C A R O L I N G IAN

510
511
511
513

C E N T U R Y

V I I . 1.

Introduction

514

V I I . 2.
VI1.3.
VII.4.
VI1.5.

The
The
The
The

514
518
520
521

VIII.
VIII.l.
VIII.2.

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

G R E G O R I A N

C H A N T

A N D OTHER

C H A N T

REPERTORIES

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.3.

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

(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

529
530

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

530
530
531
532
533
533
534

(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

538
539
540
549
552
557
560

IX.

PERSONS A N D

PLACES

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

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

563
569
571
574
578
580

IX.7.
IX.8.

N o r t h Italian T r a d i t i o n s
Benevento a n d Montecassino

585
589

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

594
596
601

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

604
604

(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.5.
X.6.

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

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

605
606
607

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

XI.

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

X I . 1.

T h e R e t u r n to the Source

622

XI.2.
XI.3.

Solesmes and the Vatican E d i t i o n

Practical E d i t i o n s and Scholarly Research

624
628

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.

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

350
565

Ecclesiastical map of Italy

Ecclesiastical map of G e r m a n y

566
567

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

568
577

G u i d o n i a n hand after M u n i c h , Bayerische Staatsbibliothek, e l m 14965b

469

Figure
V.4.1

TABLES

1.3.1.
1.3.2.
1.3.3.

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

12
13
14-15

1.3.4.
1.4.1.
1.4.2.
1.6.1.
I. 9 . 1 .

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

17
20
21
29
43

I I . 7.1.
I I . 11.1.
11.23.1.
11.23.2.
11.23.3.

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

91
115
217
226-7
234

111.4.1.
111.4.2.

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

300
301

111.4.3.
III.5.1.
III.8.1.
I I I . 15.1.

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

302
306
318
337

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.

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

I V . 6.2.

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

390

V . 2.1.
V.4.1.
V . 4.2.

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

446
462
472

V I . 5.1.
VI.5.2.

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

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

Ex.
Ex.
Ex.
Ex.

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

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.

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.

EXAMPLES

Versicles and responses

F r o m the Blessing of the F o n t on Easter E v e

48
50
52

F r o m the Exultet
F r o m a litany on Rogation T u e s d a y

53
54
55
57
58
59-60

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

61
62
63
63
64

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

verbum, and
65
67
72
78
80
81
84
86
87

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

87
92
93
94

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

95
97
99

pontifices

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

101
102
103
105
106
107
107

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.

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.

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.

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

Dominion

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

123
terra

124
125
127

terra

128
129
132

dixit ad me

Veni sponsa Christi

Ante thronum
trinitatis

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

rubens rosa

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

108
111
112
113
113
114
118
119
120

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

xxvi
Ex.
Ex.
Ex.
Ex.
Ex.
Ex.
Ex.
Ex.
Ex.
Ex.
Ex.
Ex.

Music
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.

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.

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.

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.

171

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

174
175
175
176
177
179

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

182
184
189

Sequence Sancte cruris celebrenms

Sequence Victime paschali
laudes
Sequence Congaudentes
exultemus
Sequence Hodierne lux diei
Sequence Para nymph us salutat

190-1
192

virginern

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

etc., R e g n u m prosula 0

193
195
198-9
202

Michael

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,

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

Examples

rexglorie

203
206
207
208

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

nove grade

228-30
230-1
232
233
235-6
237
237
241
243
244
245
246

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.

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.

L a t i n song Plebs Domini hac

246
247
248
253
256-7

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

258-9
260
262-3
266

sepulchri

Lament atio Rachel is

F r o m the T o u r s Easter play

268-9
270
271
272

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

272
275

E x . II.26.3.
E x . II.26.4.
Ex. II.26.5.

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

276
277
278
279

Ex. III.14.1.
Ex. III.14.2.
Ex. III.14.3.

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

327
332

F r o m the G l o r i a tones

334

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

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

344
355
356
358
359
372

IV.1.1.
IV.2.1.
IV.2.2.
IV.3.1.
IV.3.2.
IV.4.1.

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.

Domino

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

375
376
377
378
378
379
380
381
387
393
393
394
395
396
398

xxviii
Ex.
Ex.
Ex.
Ex.
Ex.
Ex.
Ex.
Ex.

Examples

V.2.1.
V.2.2.

Boethius' division of the m o n o c h o r d

Species of intervals

V.3.1.
V.3.2.
V.3.3.
V.3.4.
V.3.5.
V.4.1.

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

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.

Music

VIII.3.2.
VIII.3.3.
VIII.3.4.
VIII.3.5.

445
447
449
450
450

Introit Statuit ei as described by H u c b a l d

H u c b a l d ' s letter-notation

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

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

474
475
gloria

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.

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 ,

I X . 8.1.
IX.8.2.
IX.10.1.

Ex. X.3.1.

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

532
534
535
536
537
538
543
545
546
548

canite

A m b r o s i a n , and O l d R o m a n versions
IX.7.1.
IX.7.2.

457
464
465
465
466
467
468
470

rnusica

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

Ex.
Ex.
Ex.
Ex.
Ex.

451
453

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

551
555

556-7
587
588
592
etc.

593
599--600

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

612

Music

xxix

Examples

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

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

Ex. X 1 . 1 . 1 .

O p e n i n g of gradual Ex urge Domine non prevaleat

homo

617
619-20
625

NOTE ONMUSIC

EXAMPLES

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

= quilisma

notation.

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

= oriscus

' = apostropha

= liquescent note

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

AM

Antiphonale

AMS

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']

monasticum

pro diurnis horis ( T o u r n a i , 1934)

Aft

Antiphonale

AS

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

BzG

sacrosanctae

Romanae

ecclesiae

(Rome,

1912)
of the

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

CCM

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

CM
CS
CSM
CT

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

DMA

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

EG
EL
EMM

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

GR

Graduate

DACL

sacrosanctae

Romanae

ecclesiae

(Rome,

1908)

xxxii
GS
GT

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

PL
RB
RCG
RG
RIM
RISM
SMH
VGA

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

I
j

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

Anhange: Carmina Compostellana,

A H \%see A H 5.
A H 19, 22, 23 see A H 11.

die Lie der des s.g. Codex Calixtinus,

ed. Dreves.

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 .

Ritus aus

AH

Liturgische

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:

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 .

Handschriften

e d . H e n r y M a r r i o t t Bannister.

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.

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

Hymnologicus
Jahrhunderts
des

12.-16.

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,

84

8 vols, i n 4 ( C o i m b r a , 1 9 1 0 - 2 2 ;

A M E L L I , A M B R O G I O M . , ' L ' e p i g r a m m a d i Paolo D i a c o n o intorno al canto G r e g o r i a n o e

A m b r o s i a n o ' . Memorie storiche forogiuliesi,
9 (1913), 1 5 3 - 7 5 .
A M I E T , R O B E R T , ' U n breviaire note d u x i v siecle de la primatiale Saint-Jean de L y o n ' , EG
15 (1975), 2 0 1 - 6 .
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',

las
in

NG.

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

monasticum

Antiphonale Pataviense
K a s s e l , 1985).

secundum

traditionem

Helveticae

[ed. G . M . Suriol] ( R o m e ,
Congregationis

Benedictinae

f\Vien 1519), e d . K a r l h e i n z Schlager ( D a s E r b e deutscher M u s i k , 8 8 ;

Antiphonale
Silense: British Library Mss. Add. 30.850, e d . Ismael F e r n a n d e z de la Cuesta
( M a d r i d , 1985).
Antiphonar
von St. Peter [ V i e n n a , N a t i o n a l b i b l i o t h e k , series nova 2700], 2 vols. (Codices
selecti, 2 1 ; G r a z , 1 9 6 9 - 7 3 , 1974).
A P E L , W I L L I , Gregorian Chant ( B l o o m i n g t o n , I n d . , 1958).
A R C H E R , P E T E R , The Christian Calendar and the Gregorian Reform ( N e w Y o r k , 1941).
A R L T , W U L F , Bin Festoffizium
des Mittelalters
aus Beauvais
in seiner liturgischen
und
musikalischen
Bedeutung,
'Einstimmige Lieder

2 vols. (Cologne, 1970).

des 12. Jahrhunderts u n d M e h r s t i m m i g e s

Handschriften des 16. Jahrhunderts aus L e Puy', Schweizer Beitrage zur

(1978), 7 - 4 7 .
' Z u r Interpretation der T r o p e n ' , Forum musicologicum,
3 (1982),
and S T A U F F A C H E R , M A T T H I A S , Engelberg Stiftsbibliothek
Codex 314
A R N E S E , R A F F A E L E , / codici notati delta Biblioteca nazionale di Napoli
A R N O U X , G . , Musique platoniciennedme
du monde (Paris, 1960).

in

franzosischen

Musikwissenschaft,

61-90.
( W i n t c r t h u r , 1986).
( F l o r e n c e , 1967).

A S H W O R T H , H E N R Y , ' D i d St. A u g u s t i n e B r i n g the G r e g o r i a n u m to E n g l a n d V E L 72 (1958), 3 9 43.

' T h e L i t u r g i c a l Prayers of St. G r e g o r y the Great', Traditio, 15 (1959), 1 0 7 - 6 1 .
' F u r t h e r Parallels to the " H a d r i a n u m " f r o m St. G r e g o r y the Great's C o m m e n t a r y on the
F i r s t B o o k of K i n g s ' , Traditio, 16 (I960), 3 6 4 - 7 3 .
A S K E T O R P , B O D I L , ' T h e M u s i c a l Contents of T w o D a n i s h Pontificals f r o m the Late M i d d l e
Ages', jfPMMS
7 (1984), 2 8 - 4 6 .
A T C H L E Y , E . G . C . F . , Ordo Romanus primus ( L o n d o n , 1905).
A T K I N S O N , C H A R L E S M . , ' T h e Earliest A g n u s D e i M e l o d y and its T r o p e s ' , J A M S 30 (1977), 1 19.
'O amnos tu then: T h e Greek A g n u s D e i i n the R o m a n L i t u r g y f r o m the E i g h t h to the
E l e v e n t h C e n t u r y ' , Kmjb 65 (1981), 7 - 3 0 .
' Z u r E n t s t e h u n g u n d O b e r l i e f e r u n g der " M i s s a G r a e c a ' " , AfMiv 39 (1982), 1 1 3 - 4 5 .
' T h e Parapteres:
Nothi or N o t ? ' , MO 68 (1982), 3 2 - 5 9 .
' O n the Interpretation of Modi, quos abusive tonos dicimus,
in Gallacher and Damico
1989, 1 4 7 - 6 1 .
' T h e Doxa, the Pisteuo, and the Ellinici F rat res: Some A n o m a l i e s i n the T r a n s m i s s i o n of
the C h a n t s of the " M i s s a G r a e c a ' " , Journal of Musicology, 7 (1989), 8 1 - 1 0 6 .

' 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).
T

' A c c e n t u a l a n d C u r s i v e Cadences i n G r e g o r i a n P s a l m o d y ' , JAMS 29 (1976), 4 6 3 - 7 1 .

' M o d e s a n d M y t h ' , Studies in Music from the University of Western Ontario, 1 (1976),
43-54.
' A m b r o s i a n P s a l m o d y : A n I n t r o d u c t i o n ' , Studies in Music from the University
of
Western Ontario, 2 (1977), 6 5 - 7 8 .
LJe modi's musicis: A N e w E d i t i o n and E x p l a n a t i o n ' , Isjnjb 6 1 - 2 ( 1 9 7 7 - 8 ) , 4 7 - 6 0 .
' A m b r o s i a n P s a l m o d y : T h e F o r m u l a e ' , Studies in Music from the University of Western
Ontario, 3 (1978), 7 2 - 9 6 .
Commemoratio
brevis de tonis et psalrnis modulandis:
Introduction,
Critical
Edition,
Translation
( O t t a w a , 1979).
The Ambrosian Alleluias (Englefield G r e e n , 1983).
' A m b r o s i a n C h a n t in S o u t h e r n Italy', JPMMS
6 (1983), 1 - 7 .
The Ambrosian Cantus (Ottawa, 1987).
' M i l a n e s e M e l o d i c T r o p e s ' , JPMMS
11 (1988), 1 - 1 2 .
and M E R K L E Y , P A U L , The Antiphons of the Ambrosian Office ( O t t a w a , 1989).
The Melodic Tradition of the Ambrosian Office-Antiphons
( O t t a w a , 1990).
B A L D O V I N , J O H N F . , The Urban Character of Christian Worship: The Origins,
Development,
and Meaning of Stational Liturgy (Orientalia C h r i s t i a n a analecta, 2 2 8 ; R o m e , 1987).
B A L T Z E R , R E B E C C A A . , 'Johannes de G a r l a n d i a ' , NG.

B a m b e r g 6 = Die Handschrift
Bamberg Staatsbibliothek
Lit. 6 ( M o n u m e n t a palaeographica
G r e g o r i a n a , 2 ; M u n s t e r s c h w a r z a c h , [1986]).
B A N N I S T E R , H E N R Y M A R R I O T T , Monument! vaticani di paleografia musicale latina, 2 vols.
(Codices e vaticanis selecti, phototypice expressi, 11; L e i p z i g , 1913).
see also A H .
B A R A L L I , R A F F A E L L O , ' A proposito d i u n piccolo trattato s u l canto ecclesiastico i n u n
manoscritto dei sec. X - X I ' , Rassegna gregoriana,
4 (1905), 5966.

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).

' A m b r o s i a n R i t e , M u s i c of the', NG.

and S T E I N E R , R U T H , ' O f f e r t o r y ' ,

NG,

B A T I F F O L , P I E R R E , Histoire du breviaire roman

Roman Breviary) ( L o n d o n , 1913).
B A U D O T , J U L E S , 'Benedictionnaire',
DACL.
B A U M E R , S U I T B E R T , Geschichte des Breviers,

(3rd e d n . , Paris, 1911); t r a n s . : History of the

2 vols. (Freiburg, 1895); trans, and rev. R . B i r o n ,

Histoire du breviaire,
2 vols. (Paris, 1905).
B A U M S T A R K , A N T O N , Comparative
Liturgy ( L o n d o n , 1958).
BAUTIER,

ROBERT-HENRI,

GILLES,

MONIQUE,

DUCHEZ,

MARIE-ELISABETH,

and

HUGLO,

M I C H E L , Odorannus de Sens: Opera omnia (Paris, 1972).

B A U T I E R - R E G N I E R , A N N E - M A R I E , ' A propos d u sens de neuma et de nota en l a t i n medieval',
Revue beige de musicologie,
18 (1964), 1 - 9 .
B A Y A R T , P A U L , Les Offices de Saint Winnoc et de Saint Oswald d'apres le manuscrit

14 de la

Bibliotheque
de Bergues, Annales d u C o m i t e F l a m a n d de France 35 ( L i l l e , 1926).
B E A R E , W I L L I A M , Latin Verse and European Song: A Study in Accent and Rhythm ( L o n d o n ,
1957).
B E C K E R , G U S T A V H E I N R I C H , Catalogi bibliothecarum
antiqui ( B o n n , 1885).
B E C K E R , H A N S J A K O B , Die Responsorien
des Kartauserbreviers
( M u n c h e n e r theologische
S t u d i e n , I I . Systematische A b t e i l u n g , 3 9 ; M u n i c h , 1971).
Das Tonale Guigos I: Ein Beit rag zur Geschichte des liturgischen Gesangs und der Ars
Musica im Mittelalter ( M u n c h e n e r Beitrage z u r M e d i a v i s t i k u n d R e n a i s s a n c e - F o r s c h u n g ,
2 3 ; M u n i c h , 1975).
B E D E , A Histoiy of the English Church and People, e d . L e o S h e r l e y - P r i c e ( H a r m o n d s w o r t h ,
1955; 2 n d e d n . , 1968).
Opera historica, e d . C . P l u m m e r , 2 vols. ( O x f o r d , 1896).
B E N O I T - C A S T E L L I , G E O R G E S , ' L e " P r a e c o n i u m paschale'", EL 67 (1953), 3 0 9 - 3 4 .
' U n processional anglais d u x i v
siecle: L e processional dit "de R o l l i n g t o n ' " , EL 75
(1961), 2 8 1 - 3 2 6 .
e m e

BENSON,

R O B E R T L . , C O N S T A B L E , G I L E S , and L A N H A M ,

C A R O L D . ( e d s . ) , Renaissance

and

Renewal in the Twelfth Century ( C a m b r i d g e , M a s s . , 1982).

B E N T O N , J O H N F . , ' N i c o l a s of C l a i r v a u x and the T w e l f t h - C e n t u r y Sequence, w i t h Special
Reference to A d a m of St. V i c t o r ' , Traditio, 18 (1962), 1 4 9 - 7 9 .
B E R G E R , H U G O , Untersuchungen zu den Psalmdifferenzen
( K o l n e r Beitrage z u r M u s i k f o r s c h u n g ,
37; Regensburg, 1966).

B E R N A R D , M A D E L E I N E , ' L ' O f f i c i u m Stellae N i v e r n a i s ' , Revue de musicologie,

65.

51 (1965), 5 2 -

Bibliotheque
Sainte-Genevieve
(Repertoire de manuscrits medievaux contenant des
notations musicales, 1; Paris, 1965).
Bibliotheque
Mazarine
(Repertoire de manuscrits medievaux contenant des notations
musicales, 2 ; Paris, 1966).
Bibliotheque
de VArsenal,
rUniversite

et petits fonds

Bibliotheque

nationale

(musique),

des

beaux-arts,

de

(Repertoire de manuscrits medievaux contenant des notations

musicales, 3 ; Paris, 1974).

' U n r e c u e i l inedit d u x n siecle et la copie aquitaine de l'office versifie de saint B e r n a r d ' ,
e

16 (1977), 1 4 5 - 5 9 .
' L e s Offices versifies attribues a L e o n I X (1002-1054)', EG 19 (1980), 8 9 - 1 6 4 .
B E R N H A R D , M I C H A E L , Worikonkordanz
zu Anicius Manlius Severinus Boethius De Institutione
Musica (Bayerische Akademie der Wissenschaften, Veroffentlichungen der Musikhistorischen
EG

K o m m i s s i o n , 4 ; M u n i c h , 1979).
Studien
zur Epistola
de hannonica

institutione

des

Regino

von Priim

(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 , 5 ;

M u n i c h , 1979).
Clavis Gerberti: Eine Revision von Martin Gerberts Scriptores ecclesiastici de musica
sacra potissimum
(St. Blasien
1784) 1 (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 , 7; M u n i c h , 1989).
[ B E R R Y , M A R Y ] M o t h e r T h o m a s M o r e , ' T h e Performance of P l a i n s o n g i n the L a t e r M i d d l e
Ages a n d the S i x t e e n t h C e n t u r y ' , Proceedings of the Royal Musical Association, 92 ( 1 9 6 5 6), 1 2 1 - 3 4 .
' G r e g o r i a n C h a n t . T h e Restoration of the C h a n t and Seventy-five Y e a r s of R e c o r d i n g ' ,
Early Music, 7 (1979), 1 9 7 - 2 1 7 .
arts. ' C i s t e r c i a n M o n k s , ' D o m i n i c a n F r i a r s ' , ' S a r u m R i t e , M u s i c of the', NG.
B E S C O N D , A L B E R T , Le Chant gregorien (Paris, 1972).
B E S S E L E R Festschrift 1961 = Festschrift
Heinrich
Besseler zum sechzigsten
Geburtstag
( L e i p z i g , 1961).
BEWERUNGE,
I I . , ' T h e M e t r i c a l C u r s u s i n the A n t i p h o n
internationalen
Musikgesellschaft,
13 ( 1 9 1 0 - 1 1 ) , 227.
Biblioteca
sanctorum,
13 vols. ( R o m e , 1 9 6 1 - 7 0 ) .

M e l o d i e s ' , Zeitschrift

der

B I L L E C O C Q , M A R I E - C L A I R E , 'Lettres ajoutees a la notation neumatique d u codex 239 de L a o n ' ,

EG 17 (1978), 7 1 - 4 4 .
B I N F O R D - W A L S H , H I L D E M . , ' T h e O r d e r i n g of M e l o d y i n A q u i t a n i a n C h a n t : A S t u d y of
M o d e O n e Introit T r o p e s ' , i n C a n t u s Planus 1990, 3 2 7 - 3 9 .
B I R K N E R , G U N T H E R , ' E i n e "Sequentia sancti Johannis confessoris" i n T r o g i r ( D a l m a t i e n ) ' ,
Musik des Ostens, 2 (1963), 9 1 .
B I S C H O F F , B E R N H A R D , ' O t l o h ' , i n K a r l L a n g o s c h (ed.), Die deutsche Literatur
des
Mittelalters.
Ve rfas serie xicon, 5: Nachtragband
( B e r l i n , 1955), 6 5 8 - 7 0 .
' P a n o r a m a der H a n d s c h r i f t e n i i b e r l i e f e r u n g aus der Zeit K a r l s des G r o B e n ' , i n B r a u n f e l s ,
ii (1965), 2 3 3 - 5 4 = Bischoff 1966, 5 - 3 8 .
Mittelalterliche
Studien: Ausgewdhlte Aufsdtze zur Schriftkunde

und Literaturgeschichte,

vols. (Stuttgart, 1966, 1967, 1981).

' F r u h k a r o l i n g i s c h e H a n d s c h r i f t e n u n d ihre H e i m a t ' , Scriptorium,
[index to B i s c h o f f 1965].

22 (1968),

306-14

B I S C H O F F , B E R N H A R D , Die sudostdeutschen
Schreibschulen
und Bibliotheken
in der Karolingerzeit, 2 vols. (3rd e d n . , Wiesbaden, 1974, 1980).
Palaographie
des rbmischen Altertums und des abendldndischen
Mittelalters (Grundlagen
der G e r m a n i s t i k , 24; B e r l i n , 1979; 2 n d e d n . , 1986).
Kalligraphie
in Bayern: 8.-12. Jahrhundert
(Wiesbaden,

1981).

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

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

Kmjb

Four

Essays

in

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

Feast of the C r o w n of T h o r n s ' , JPMMS

10 (1987), 2 3 - 4 7 .
B L O C H , H E R B E R T , Monte Cassino in the Middle Ages, 3 vols. ( R o m e ,
B l u m e see A H .

the

1986).

B O E , J O H N , ' A N e w Source for O l d Beneventan C h a n t : T h e Santa S o p h i a M a u n d y i n M S

O t t o b o n i lat. 145', AcM SI (1980), 1 2 2 - 3 3 .
' G l o r i a A and the R o m a n Easter V i g i l ' , Ml) 36 (1982), 5 - 3 7 .
' T h e Beneventan A p o s t r o p h u s i n S o u t h Italian N o t a t i o n , A . D . 1000-1100', EMU 3
(1983), 4 3 - 6 6 .
' T h e " L o s t " Palimpsest K y r i e s i n the Vatican M a n u s c r i p t U r b i n a s latinus 602',
JPMMS
8 (1985), 1 - 2 4 .
' H y m n s and Poems at M a s s i n E l e v e n t h - C e n t u r y S o u t h e r n Italy (other than Sequences)',
in Congress Bologna 1987, i i i . 5 1 5 - 4 1 .
Beneventanum
Troporum Corpus 11: Ordinary Chants and Tropes for the Mass from
Southern Italy, A.D. 1000-1250. Part 1: Kyrie eleison ( M a d i s o n , W i s e , 1989); Part 2:
Gloria in excelsis ( M a d i s o n , W i s e , 1990).
'Italian and R o m a n Verses for K y r i e leyson i n the M S S C o l o g n e - G e n e v e , B i b l i o t h e c a
B o d m e r i a n a 74 and Vaticanus latinus 5319', i n L e o n a r d i and Menesto 1990, 3 3 7 - 8 4 .
B O E T H I U S , De institutione arithmetica
libri duo. De institutione musica libri quinque, e d .
G . F r i e d l e i n ( L e i p z i g , 1867).
'Fundamentals
of Music
by Anicius Manlius
Severinus
Boethius,
trans, w i t h an
3

i n t r o d u c t i o n and notes b y C . M . Bower, e d . by C l a u d e V . Palisca ( N e w H a v e n , C o n n . ,

1989).

B O M M , U R B A N U S , Der Wechsel der Modalitdtbestimrnung

in der Tradition der Mefigesdnge im
IX. bis XIII. Jahrhundert
und sein Einflufl auf die Tradition ihrer Melodien
(Diss.,
Gottingen, 1 9 2 8 ; Einsiedeln, 1 9 2 9 ) .
B O N A , J . , Rerum liturgicarum
libri duo ( R o m e , 1 6 7 1 ; Paris, 1 6 7 2 ) .
B O N A S T R E , F . , ' E s t u d i s sobre la verbeta: la verbeta a Catalunya durant els segles X I - X V I '
(Diss., Tarragona, 1 9 8 2 ) .
B O N N I W E L L , W I L L I A M R . , A History of the Dominican Liturgy ( N e w Y o r k , 1 9 4 4 ) .
B O O R , H E L M U T D E , Die Textgeschichte
der lateinischen Osterfeiern ( T u b i n g e n , 1 9 6 7 ) .
BORELLA,

P I E T R O , // rito ambrosiano

(Brescia,

1964).

V A N D E N B O R R E N Festschrift 1 9 4 5 = S . C l e r c x and A . van der L i n d e n (eds.), Homrnage a

Charles van den Borren ( A n t w e r p , 1 9 4 5 ) .
B O R S A I , I L O N A , ' C o p t i c R i t e , M u s i c of the', NG.
B O S S E , D E T L E V , Untersuchung
einstimmiger
mittelalteriicher
Melodien zum 'Gloria in
excelsis deo ( R e g e n s b u r g , 1 9 5 5 ) .
B O T T E , B E R N A R D , Les Otigines de la Noel et de VEpiphanie ( L o u v a i n , 1 9 3 2 ) .
B O U T E M Y Festschrift 1 9 7 6 = G u y C a m b i e r (ed.), Hommages a Andre Bouterny
y

(Collection

L a t o m u s , 1 4 5 ; Brussels, 1 9 7 6 ) .
B O U Y E R , L o u i s , La Vie de la liturgie (Paris, 1 9 5 6 ) ; trans.: Life and Liturgy ( L o n d o n , 1 9 5 6 ) .
Le Rite et Vhomme, sacralite naturelle et liturgie (Paris, 1 9 6 2 ) ; t r a n s . : Rite and Man
(London,

1963).

B O W E R , C A L V I N M . , ' B o e t h i u s ' " T h e Principles of M u s i c " , an I n t r o d u c t i o n , T r a n s l a t i o n , a n d

C o m m e n t a r y ' ( D i s s . , George Peabody College, 1 9 6 7 ; U M I 6 7 - 1 5 0 0 5 ) .
' N a t u r a l and A r t i f i c i a l M u s i c : T h e O r i g i n s a n d D e v e l o p m e n t of an Aesthetic C o n c e p t ' ,
MD

IS

(1971), 17-33.

'Boethius

a n d N i c o m a c h u s : A n Essay

C o n c e r n i n g the Sources of De

Institutione

Musica,
Vivarium,
16 (1978), 1 - 4 5 .
' A n A l l e l u i a for M a t e r ' , i n H e r z Festschrift 1 9 8 2 , 9 8 - 1 1 6 .
' T h e M o d e s of Boethius', Journal of Musicology, 3 ( 1 9 8 4 ) , 2 5 2 - 6 3 .
' B o e t h i u s ' " D e institutione m u s i c a " . A H a n d - L i s t of M a n u s c r i p t s ' , Scriptorium,
(1988),

42

205-51.

' T h e G r a m m a t i c a l M o d e l of M u s i c a l U n d e r s t a n d i n g i n the M i d d l e Ages', i n G a l l a c h e r

and D a m i c o 1 9 8 9 , 1 3 3 - 4 5 .
B O Y C E , J A M E S J O H N , ' T h e O f f i c e of St M a r y of Salome', JPMMS

11 ( 1 9 8 8 ) ,

25-47.

' T h e Office of the T h r e e M a r y s i n the C a r m e l i t e L i t u r g y ' , JPMMS

12 (1989), 1 - 3 8 .
' T h e M e d i e v a l C a r m e l i t e Office T r a d i t i o n ' , AcM 6 2 ( 1 9 9 0 ) , 1 1 9 - 5 1 .
B O Y L E , L E O N A R D E . , Medieval Latin Palaeography:
A Bibliographical
Introduction
(Toronto
Medieval Bibliographies, 8 ; Toronto, 1 9 8 4 ) .
B R A D S H A W , P A U L , Daily Prayer in the Early Church ( A l c u i n C l u b C o l l e c t i o n s , 6 3 ; L o n d o n ,
1981).

B R A G A N A , J O A Q U I M O . , Missal de Mateus: Manuscrito 1000 da Biblioteca Publica e Arquivo

Distrital de Braga ( L i s b o n , 1 9 7 5 ) .
Processionale-Tropario
de Alcobaqa ( L i s b o n , 1 9 8 5 ) .
Bragard see C S M 3 .
B R A N N E R , R O B E R T , ' T W O Parisian Capella Books i n B a r i ' , Gesta, 8 ( 1 9 6 9 ) , 1 4 - 1 9 .
Manuscript
Painting in Paris during the Reign of Saint Louis (Berkeley, C a l i f . , 1 9 7 7 ) .
B R A U N F E L S , W O L F G A N G (ed.), Karl der Grofie: Lebenswerk
und Nachleben,
5 vols.
(Dusseldorf,

1965-8).

xlii
Breviarium

Bibliography
Nidrosiense

(Parisius

1519) (fac. e d n . , O s l o , 1964).

B R I G G S , H E N R Y B . , The Musical Notation of the Middle Ages Exemplified

by
Facsimiles
of Manuscripts
Written between the 10th and 16th Centuries
Inclusive
(London,
1890).
B R O C K E T T , C L Y D E W A R I N G , Antiphons, Responsories, and other Chants of the Mozarabic
Rite
( B r o o k l y n , 1968).
' U n p u b l i s h e d A n t i p h o n s and A n t i p h o n Series F o u n d i n the G r a d u a l of St. Y r i e i x ' , Ml)
26 (1972), 6 7 - 9 4 .
'Easter M o n d a y A n t i p h o n s and the Peregrinus Play', Kmjb 6 1 - 2 ( 1 9 7 7 - 8 ) . 2 9 - 4 6 .
B R O N A R S K I , L . , ' D i e Q u a d r i p a r t i t a figura i n der mittelalterlichen M u s i k t h e o r i e ' , i n W a g n e r
Festschrift 1926, 2 7 - 4 3 .
B R O U , L O U I S , ' L e s Improperes d u V e n d r e d i - S a m t ' , RG 20 (1935), 1 6 1 - 7 9 ; 21 (1936), 8 - 1 6 ;
22 (1937), 19, 4 4 - 5 1 .
' L ' A l l e l u i a greco-latin " D i e s sanctificatus" de la messe d u jour de N o e l : O r i g i n e et
evolution d ' u n chant b i l i n g u e et proteiforme', RG 23 (1938), 1 7 0 - 5 ; 24 (1939), 1 - 8 , 8 1 - 9 ,
202-13.
' L e Repons " E c c e q u o m o d o m o r i t u r " dans les traditions romaine et espagnole', RB 41
(1939), 1 4 4 - 6 8 .
' L e P s a l l e n d u m de la messe et les chants connexes d'apres les sources manuscrites', EL 61
(1947), 1 3 - 5 4 .
'Etudes sur la liturgie mozarabe: L e T r i s a g i o n de la messe d'apres les sources
manuscrites', EL 61 (1947), 3 0 9 - 3 4 .
' L e s " B e n e d i c t i o n e s " ou cantique des trois enfants dans l'ancienne messe espagnole',
Hispania sacra, 1 (1948), 2 1 - 3 3 .
' L e s C h a n t s en langue grecque dans les liturgies latines', Sacris
80; 4 (1952), 2 2 6 - 3 8 .

erudiri,

1 (1948), 165

' L ' A n t i p h o n a i r e wisigothique et l'antiphonaire gregorien au debut d u V I I I siecle. Essai

de musicologie comparee', Anuario musical, 5 (1950), 3 - 1 0 .
' L ' A l l e l u i a dans la liturgie mozarabe. E t u d e liturgico-musicale d'apres les manuscrits',
Anuario musical, 6 (1951), 3 - 9 0 .
c

'Sequences et tropes dans la liturgie mozarabe', Hispania sacra, 4 (1951), 1 - 1 5 .

' N o t e s de paleographie musicale mozarabe', Anuario musical,
7 (1952), 5 1 - 7 6 ; 10
(1955), 2 3 - 4 4 .
' E t u d e s sur le missel et le breviaire "mozarabes" i m p r i m e s ' , Hispania sacra, 11 (1958),
1-50.
' L ' A n c i e n Office de saint Vaast, eveque d ' A r r a s ' , EG 4 (1961), 7 - 4 2 .
and V I V E S , J O S E , Antifonario visigotico mozarabe de la Catedral de I^eon: Edicion
del
texto, notas e indices ( M o n u m e n t a hispaniae sacra. Serie l i t u r g i c a , v/1; Barcelona a n d
M a d r i d , 1959).
B R O V E L L I , F . , ' P e r uno studio dei messali francesi del X V I I I secolo, saggio d i analisi', EL 96
(1982), 2 7 9 - 4 0 6 .
0

BROWN,

JULIAN,

PATTERSON,

SONIA,

and

HILEY,

DAVID,

'Further Observations on

JPMMS
4 (1981), 5 3 - 8 0 .
B R O W N E , A L M A C O L K , ' T h e a - p System of L e t t e r N o t a t i o n ' , Ml) 35 (1981), 5 - 5 4 .
B R U N H O L Z L , F R A N Z , ' Z u r A n t i p h o n " A l m a redemptoris mater'", Studien und Mitteilungen
Geschichte des Benediktinischen
Ordens und seiner Zweige, 78 (1967), 3 2 1 - 4 .
Geschichte der I ate mis die n Literatur des Mittelalters,
i ( M u n i c h , 1975).

Wl',

zur

B R U N N E R , L A N C E W . , ' A Perspective on the S o u t h e r n Italian S e q u e n c e : T h e Second T o n a r y

of the M a n u s c r i p t M o n t e Cassino 3 1 8 ' , EMM 1 ( 1 9 8 1 ) , 1 1 7 - 6 4 .
' T h e Performance of P l a i n c h a n t : Some P r e l i m i n a r y Observations of the N e w E r a ' , Early
Music,

10 ( 1 9 8 2 ) ,

317-28.

'Catalogo delle sequenze i n manoscritti d i origine italiana', RIM

B R Y A N T , D A V I D , 'Aquileia',

2 0 (1985),

191-276.

NG.

B U C H N E R , M . , ' D i e " V i t a C h r o d e g a n g i " : E i n e kirchenpolitische T e n d e n z s c h r i f t aus der M i t t e

des 9 . J a h r h u n d e r t s , z u g l e i c h eine U n t e r s u c h u n g zur E n t w i c k l u n g der P r i m a t i a l - u n d
V i k a r i a t s i d e e ' , Zeitschrift der Savigny-Stiftung
fur Rechtsgeschichte, Kanonische
Abteilung,
16 ( 1 9 2 7 ) ,

1-36.

B U J I C , B O J A N , ' Z a d a r s k i neumatski fragmenti v O x f o r d u / N e u m a t i c F r a g m e n t s of Z a d a r i n

O x f o r d ' , Muzikoloski
zbomik, 4 ( 1 9 6 8 ) , 2 8 .
B U K O F Z E R , M A N F R E D , ' S p e c u l a t i v e T h i n k i n g i n M e d i e v a l M u s i c ' , Speculum,

17 (1942), 165

80.

B U L S T , N E I T H A R T , Untersuchungen
zu den Klosterreformen
Wilhelms von Dijon
(962-1031)
(Pariser historische S t u d i e n , 1 1 ; B o n n , 1 9 7 3 ) .
' R o d u l f u s G l a b e r s V i t a d o m n i W i l l e l m i abbatis. N e u e E d i t i o n nach einer H a n d s c h r i f t
des 1 1 . J a h r h u n d e r t s (Paris, B i b l . nat., lat. 5 3 9 0 ) ' , Deutsche's Archiv fur Erforschung
des
30 (1974),

Mittelalters,

450-87.

B U L S T Festschrift 1 9 6 0 = H a n s Robert Jauss (ed.), Medium aevum vivum: Festschrift

fur
Walter Bulst ( H e i d e l b e r g , 1 9 6 0 ) .
B U S C H I N G E R , D . , and C R E P I N , A . (eds.), Musique, litterature et societe au Moyen Age (Paris,
1980).

B U Z G A , JAROSLAV,

' K a n t i o n a l (tschechisch)',

C A B A N I S S , A . , Amalarius

of Metz

MGG.

(Amsterdam, 1 9 5 4 ) .

C A B R O L , F E R N A N D , Les Livres de la liturgie latine (Paris, 1 9 3 0 ) ; t r a n s . : The Books of the Latin

Liturgy ( L o n d o n , 1 9 3 2 ) .
'Mozarabe ( L a liturgie)',
DACL.
C A L C I D I U S , Platon, Tirnaeus. A Calcidio translatus content a rioque instmctus, e d . J . W a s z i n k
( L o n d o n and L e i d e n , 1 9 6 2 ) .
C A L D W E L L , J O H N , ' T h e De Institutione
Arithmetica
and the De Institutione
Musica',
in
Gibson 1981,

135-54.

C A L L E W A E R T , C A M I L L E , ' S . G r e g o i r e , les scrutins et quelques messes quadragesimales', EL 5 3

(1939),

Sacris

191-203 =

erudiri

Callewaert 1 9 4 0 ,

659-71.

(Steenbrugge, 1 9 4 0 ) .

C A M P B E L L , T H O M A S P . , and D A V I D S O N ,

C L I F F O R D (eds.), The

Fleury

Playbook:

Essays

and

Studies ( K a l a m a z o o , M i c h . , 1 9 8 5 ) .
C A N A L , J . M . , 'Sobre el autor del antifonario cisterciense', EL 7 4 ( 1 9 6 0 ) , 3 6 - 4 7 .
C a n t u s Planus 1 9 9 0 = International
Musicologica!
Society Study Group 'Cantus
Planus*.
Papers Read at the Third Meeting, Tihany, Hungary, 19-24 September 1988, e d . L a s z l o
D o b s z a y , Peter H a l a s z , Janos M e z e i , and G a b o r Proszeky (Budapest, 1 9 9 0 ) .
Cantus selecti ex libris Vaticanis et Solesmensibus excerpti (Solesmes, 1 9 4 9 ) .
CAO 1 ( 1 9 6 3 ) = Manuscripti
'cursus romanus' [Bamberg, Staatsbibliothek, l i t . 2 3 ; Paris,
B i b l i o t h e q u e N a t i o n a l e , lat. 1 7 4 3 6 ; D u r h a m , Cathedral C h a p t e r L i b r a r y , B . i i i . 1 1 ; Ivrea,
B i b l i o t e c a Capitolare, 1 0 6 ; M o n z a , Basilica S . G i o v a n n i , C . 1 2 / 7 5 ; V e r o n a , B i b l i o t e c a
Capitolare, 9 8 ] .

CAO 2 (1965) = Manuscnpti

Uursus monasticus' [St. G a l l , Stifsbibliothek, 3 9 0 - 3 9 1 ; Z u r i c h ,
Zentralbibliothek, Rheinau 28; Paris, Bibliotheque Nationale, lat. 17296; Paris, Bibliotheque
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; Benevento, A r c h i v i o
Capitolare, 2 1 ] .
CAO
CAO

3 (1968) = Invitatoria
et
antiphonae.
4 (1970) = Responsoria,
versus, hymni,

CAO
CAO

5 (1975) = Pontes earumque prima

ordinatio.
6 (1979) = Secunda et tertia
ordinationes.

varia.

C A O - E C E = Corpus Antiphonaliurn
OfficiiEcdesiarum
Centralis Europae: A
Report, e d . L a s z l o D o b s z a y and G a b o r Proszeky (Budapest, 1988).
CAO-ECE
PA Salzburg (Temporale),
e d . L a s z l o D o b s z a y (Budapest, 1990).

Preliminary

C A P E L L E , B . , ' L e K y r i e de la messe et le pape Gelase', RB 46 (1934), 1 2 6 - 4 4 .

C A R D I N E , E U G E N E , ' L a Psalmodie des introits', RG 26 (1947), 1 7 2 - 7 , 2 2 9 - 3 6 ; 27 (1948), 1 6 25.
' L a C o r d e recitative d u 3 ton psalmodique dans l'ancienne tradition sangallienne', EG 1
(1954), 4 7 - 5 2 .
' L e C h a n t gregorien est-il mesure?', EG 6 (1963), 7 - 3 8 ; trans. A . D e a n : Is
Chant Measured Music? (Solesmes, 1964).
Graduel neume (Solesmes, 1966).

Gregorian

Serniologia gregoriana
( R o m e , 1968); F r e n c h t r a n s . : 'Semiologie gregorienne', EG 11
(1970), 1158; trans. Robert M . F o w e l s : Gregorian Semiology (Solesmes, 1982).
'Vue d'ensemble sur le chant gregorien', EG 16 (1977), 1 7 3 - 9 2 .
C A R D I N E Festschrift 1980 = Johannes Berchmans G o s c h l (ed.), Ut mens concordet voci:
Festschrift Eugene Cardine zum 75. Geburtstag (St. O t t i l i e n , 1980).
Carmina Burana:
Faksirnile-Ausgabe
der lis. Clrn 4660 + 4660a, e d . B e r n h a r d Bischoff
( B r o o k l y n , 1967).
C A S S I O D O R U S , Institutiones divinamm et humanamm
remm, e d . R . A . B . M y n o r s ( O x f o r d ,
1937).
C A S T I G L I O N I Festschrift 1957 = Studi in onore di Moris. Carlo Castiglioni ( M i l a n , 1957).
C A S T R O , E V A , ' L e L o n g C h e m i n de Moissac a S . M i l l a n ( L e t r o p a r i u m de la R e a l A c a d . H i s t . ,
A e m i l 51)', i n L e o n a r d and Menesto 1990, 2 4 3 - 6 3 .
C A T T A N E O , E N R I C O , ' i ranti della frazione e c o m u n i o n e
M o h l b e r g Festschrift > 4 8 , i . 147-74.
Note storiche sul c> to arnbrosiano ( M i l a n , 1950).

nella l i t u r g i a ambrosiana', in

C A V A L L O , G U G L I E L M O , . . toli di Exultet dell*Italia meridionale

( B a r i , 1973).
C C M 9 (1976) = Cons:
udines Floriacenses
saeculi tertii decirni, e d . A n s e l m o D a v r i l .
C C M 10 (1980) = Libc
'Yamitis aevi Odilonis Abbatis, e d . Peter D i n t e r .
C C M 12 (2 v o l s . , 1975, 8 7 ) = Consuetudines Fructuarienses-Sanblasianae,
ed. Luchesius
G . S p a t l i n g and Pete
)inter.
C E N S O R I N U S , De die ?:<; iii liber ad O. Caerellium,
accedit Arionymi cujusdam
Epitoma
disciplinarum
(Fragr?
itum Censorini), e d . N i c o l a s S a l l m a n n ( L e i p z i g , 1983).
, v

I^e jour natal, trac

tion annotee, trans. G u i l l a u m e Rocca-Serra (Paris, 1980).
C H A D W I C K , H E N R Y , B o dus: The Consolations of Music, l^ogic, Theology, and
Philosophy
( O x f o r d , 1981).
C H A I L L E Y , J A C Q U E S , ' L Jocument sur la danse ecclesiastique', AcM 21 (1949), 1 8 - 2 4 .
' L e M y t h e des mc-.s s grecs', AcM 28 (1956), 1 3 7 - 6 3 .

' L e s A n c i e n s T r o p a i r e s et sequentiaires de l'Ecole de S a i n t - M a r t i a l de L i m o g e s ( x - x i

c

siecle) \ EG 2 (1957), 1 6 3 - 8 8 .
IJ Imbroglio des modes (Paris, 1960).
L'Ecole musicale de Saint-Martial
de Limoges jusqu'd la fin du XL siecle (Paris, 1960).
Alia Musica (Traite de musique du IX siecle). Edition critique commentee avec une
introduction
sur Vorigine de la nomenclature
module pseudo-grecque au Moyen-Age (Paris,
1965).
C H A M B E R S , E . K . , The Mediaeval
Stage, 2 vols. ( O x f o r d , 1903).
C H A R L E S W O R T H , K . , The Odes of Solomon (2nd e d n . , M i s s o u l a , M o n t . , 1977).
C H A R T I E R , Y V E S , ' L ' E p i s t o l a de armonica institutione de R e g i n o n de P r i i m ' ( D i s s . , O t t a w a ,
1965).
' L a M u s i c a d ' H u c b a l d de S a i n t - A m a n d (traite de musique d u x i siecle). I n t r o d u c t i o n ,
etablissement d u texte, traduction et commentaire' ( D i s s . , S o r b o n n e , 1973).
' H u c b a l d de S a i n t - A m a n d et la notation musicale', i n H u g l o 1987, 1 4 5 - 5 5 .
V

C H A V A N O N , J U L E S , Ademar de Chabannes:
Chronique ( C o l l e c t i o n des T e x t e s ; Paris, 1897).
C H A V A S S E , A N T O I N E , ' L e C a r e m e r o m a i n et les scrutins prebaptismaux avant le i x siecle',
Recherches de science religieuse, 35 (1948), 3 2 5 - 8 1 .
' L e s P l u s A n c i e n s T y p e s d u lectionnaire et de l'antiphonaire r o m a i n de la messe', RB 62
(1952), 3 - 9 4 .
'Cantatorium et Antiphonale missarum. Quelques procedes de confection. L ' A n t i p h o n a i r e
c

des d i m a n c h e s apres la Pentecote. L e s graduels d u Sanctoral', Ecclesia orans, 1 (1984), 1 5 55.

C H E V A L I E R , U L Y S S E , Repertorium
hymnologicum.
Catalogue
des chants, hymnes, proses,
sequences, tropes en usage dans Veglise latine depuis les origines jusqu'd nos jours, 6 v o l s .
( L o u v a i n a n d Brussels, 1892-1920).
Prosolariurn Anicensis: Office en vers de la Circoncision en usage dans Veglise du Puy
( B i b l i o t h e q u e l i t u r g i q u e , 5 ; Paris, 1894).
Sacrament aire et martyrologe
de Vabbaye de Saint-Remy:
Marty rologe,
calendrier,
ordinaires
et prosaire de la metropole de Reims (VIIL-XIIP
siecle), publies d'apres les
manuscrits de Pan's, Lmdres, Reims et Assise (Bibliotheque l i t u r g i q u e , 7; Paris, 1900).
Ordinaire et coutunder de Veglise cathedrale de Bayeux (XIIP ^ecle), publies d'apres les
manuscrits originaux (Bibliotheque l i t u r g i q u e , 8 ; Paris, 1902).
C H I B N A L L , M A R J O R I E , The Ecclesiastical
History of Orderic Vital 6 vols. ( O x f o r d , 1 9 6 9 80).
C H O I S S E L E T , D A N I E L E , a n d V E R N E T , P L A C I D E (eds.), Les Ecclesiaira

Officia

cisterciens

du

XIP siecle (Oelenberg, 1989).

C H O M T O N , L . , Histoire de Veglise Saint-Benigne
de Dijon ( D i j o n , >00).
C L A I R E , J E A N , ' L ' E v o l u t i o n modale dans les repertoires liturgie
s occidentaux', RG 40
(1962), 1 9 6 - 2 1 1 , 2 2 9 - 4 5 .
' L a P s a l m o d i e responsonale antique', RG 41 (1963), 8 - 2 9 , 4 )2, 7 7 - 1 0 2 .
' L ' E v o l u t i o n modale dans les recitatifs liturgiques', RG 41 (1 ' }), 1 2 7 - 5 1 .
' L e s Repertoires liturgiques latins avant l'octoechos. I. L ' o f f k ^ :erial romano-franc', EG
15 (1975), 5 - 1 9 2 .
' T h e T o n u s p e r e g r i n u s A Q u e s t i o n W e l l P u t ? ' , Orbis music
Studies in Musicology,
1 (1979-80), 3-14.
' L e s Psaumes graduels au cceur de la liturgie quadragesimale . ..G 21 (1986), 5 - 1 2 .
J

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

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

Congress

Kirchenmusik

fur Musikforschung:
Wien, Mozartjahr

Bericht

Wien
uber

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 .

11
of

22

' 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 .

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.

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

e d . G u n i l l a Iversen.

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

traditae,

pars

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

De vocum consonantiis ac De re musica (Osberni

D M A A.Xb (1979) = Codex Oxoniensis Bibliothecae

Bodleianae,

Rawlinson

Cantuariensis?).
Bodleianae,
Rawlinson

C 270, pars A:
C 270, pars

B:

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 .

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:

Centralis Europae:
Ein

altgallikanisches

Lektionar
des 5.-6. Jhs. aus dem Wolfenbiittler Palimpsest-Codex
Weissenburgensis
76
( T e x t e u n d A r b e i t e n , 2 6 - 8 ; B e u r o n , 1936).
Neue St. Caller vorhieronymianische
Propheten-Eragmente
der St. Galler
Sammelhandschrift
1398b zugehdrig: Anhang 1. Ein neues Winitharfragment
mit
liturgischen
Texten, 2. Irische Isidorfragmente
des 7. Jahrhunderts
(Texte u n d Arbeiten, 31; Beuron,
1940).
D O N A T O , G I U S E P P E , Gli dementi costituitivi dei tonari ( M e s s i n a , 1978).
D O N O V A N , R I C H A R D B . , The Liturgical Drama in Medieval Spain ( T o r o n t o , 1958).
D O R E N , R O M B A U T V A N , Etude sur Vinfluence musicale de Vabbaye de Saint-Gall (VHP
siecle) (Brussels, 1925).
Dreves see A H .

au\P

D R I N K W E L D E R , O T T O , Ein deutsches Sequentiar aus dem Ende des 12. Jahrhunderts

( V G A 8;
G r a z and V i e n n a , 1914) [ B e r l i n , Staatsbibliothek PreuBischer K u l t u r b e s i t z , M u s . 4 0 0 4 8 ] .
D R O N K E , P E T E R , ' T h e B e g i n n i n g s of the Sequence', Beitrage zur Geschichte der deutschen
Sprache und Literatur, 87 (1965), 4 3 - 7 3 .
' T y p e s of Poetic A r t i n T r o p e s ' , i n Silagi 1985, 1 - 2 4 .
D R O S T E , D I A N E L Y N N E , ' T h e M u s i c a l N o t a t i o n a n d T r a n s m i s s i o n of the M u s i c of the S a r u m
U s e , 1 2 2 5 - 1 5 0 0 ' ( D i s s . , T o r o n t o , 1983; C a n a d i a n theses 59826).
D R U M B L , J O H A N N , ' Z w e i s p r a c h i g e A n t i p h o n e n z u r K r e u z v e r e h r u n g ' , Italia medioevale
e
umanistica,
19 (1976), 4 1 - 5 5 .
' U r s p r u n g des liturgischen Spiels', Italia medioevale e umanistica,
22 (1979), 4 5 - 9 6 .
Quern queritis: Teatro sacro delValto medioevo ( R o m e , 1981).
D U B O I S , J A C Q U E S , Le Martyrologe d'Usuard (Subsidia hagiographica, 4 0 ; Brussels, 1965).
D U C H E S N E , L O U I S , Origines du culte chretien: Etude sur la liturgie latine avant
Charlemagne
(5th e d n . , Paris, 1919); t r a n s . : Christian Worship: Its Origin and Evolution. A Study of the
Latin Liturgy up to the Time of Charlemagne
( L o n d o n , 1919).

D U C H E S N E , L O U I S , lx Liber pontificalis,
2 vols. (Paris, 1886 and 1892); rev. e d n . bv C v r i l l c
V o g e l , 3 vols. (Paris, 1955, 1955, 1957).
D U C H E Z , M A R I E - E L I S A B E T H , Imago mundi: La naissance de la theorie musicale
occidentale
j

dans les comment aires carolingiens de Martianus

Capella (Paris, 1979).
' L a Representation spatio-verticale d u caractere musical g r a v e - a i g u et l'elaboration de la
notion de hauteur de son dans la conscience occidentale', AcM 51 (1979), 5 4 - 7 3 .
' D e s c r i p t i o n g r a m m a t i c a l et description arithmetique des phenomenes m u s i c a u x : L e
tournant d u i x siecle', Sprache und Erkenntnis im Mittelalter: Akten des VI.
Internationalen
Kongresses fur mittelalterliche
Philosophic Bonn 1977 (Miscellanea m e d i e v a l i a , 13/2; B e r l i n
and N e w Y o r k , 1981), 5 6 1 - 7 9 .
' D e s neumes a la portee', in H u g l o 1987, 5 7 - 6 0 .
c

D U M A S , A . , and D E S H U S S E S , J E A N , Liber sacrarnentornrn Gellonensis ( C o r p u s C h r i s t i a n o r u m ,

1 5 9 - 1 5 9 A ; T u r n h o u t , 1981).
D Y E R , J O S E P H , ' T h e Offertories of O l d R o m a n C h a n t : A M u s i c o - l i t u r g i c a l Investigation'
( D i s s . , Boston U n i v e r s i t y , 1971; U M I 7 1 - 2 6 4 0 1 ) .
' S i n g i n g w i t h P r o p e r Refinement f r o m De modo bene cantandi
(1474) b y C o n r a d v o n
Z a b e r n ' , Early Music, 6 (1978), 2 0 7 - 2 7 .
' A u g u s t i n e and the " H y m n i ante o b l a t i u m " : T h e Earliest O f f e r t o r y C h a n t s ? ' , Revue des
etudes augustiniennes,
27 (1981), 8 5 - 9 9 .
' T h e O f f e r t o r y C h a n t of the R o m a n L i t u r g y and its M u s i c a l F o r m ' , Studi musicali,
11
(1982), 3 - 3 0 .
' L a t i n Psalters, O l d R o m a n and G r e g o r i a n C h a n t s ' , Kmjfb 68 (1984), 1 1 - 3 0 .
' M o n a s t i c P s a l m o d y of the M i d d l e Ages', RB 99 (1989), 4 1 - 7 4 .
' T h e S i n g i n g of Psalms i n the E a r l y - M e d i e v a l Office', Speculum,
64 (1989), 5 3 5 - 7 8 .
' O n the M o n a s t i c O r i g i n s of Western M u s i c T h e o r y ' , i n C a n t u s P l a n u s 1990, 1 9 9 - 2 2 5 .
E B E L , B A S I L I U S , Das dlteste alemannische
Hymnar mit Noten, Kodex 366 (472)
Einsiedeln
(XII. Jahrhundert)
( V G A 17; E i n s i e d e l n , 1930).
E B E R L E , L . , The Rule of the Master (Cistercian Studies Series, 6; K a l a m a z o o , M i c h . , 1977).
Echtemacher Sakrarnentar
und Antiphonar: Vollstdndige Facsimile-Ausgabe
im
Originalfonnat
der llandschrift
1946 . . . aus dem Besitz der Hessischen Landes- und
llochschulbibliothek
Darmstadt.
W i t h Essays by K u r t H a n s Staub, Paul U l v e l i n g and F r a n z U n t e r k i r c h e r
(Codices S e l c c t i , 74; G r a z , 1982).
E D W A R D S , K A T H L E E N , The English Secular Cathedrals in the Middle Ages (Manchester, 1949;
2nd e d n . , 1967).
E D W A R D S , O W A I N T U D O R , ' A Fourteenth-Century Welsh Sarum A n t i p h o n a l : National
L i b r a r y of Wales m s . 20541', JPMMS
10 (1987), 1 5 - 2 1 .
Matins, Lauds and Vespers for St David's Day: The Medieval Office of the Welsh Patron
Saint in National Library of Wales MS 20541 E ( W o o d b r i d g e and W o l f e b o r o , 1990).
E E L E S , F R A N C I S C H A R L E S , The Holy rood Ordinate: A Scottish Version of a Directory of English
Augustinian
Canons zvith Manual and Other Liturgical Eorrns ( T h e Book of the O l d
E d i n b u r g h C l u b , 7; E d i n b u r g h , 1916).
E G G E N , E R I K , Hie Sequences of the Archbishopric
of Nidaros ( B i b l i o t h e c a Arnamagnasana,
212; C o p e n h a g e n , 1968).
E H R E N S B E R G E R , H U G O , Bibliotheca liturgica manuscripta:
Nach Handschriften
dergrofiherzoglich badischen Hof- und iMndesbibliothek
( K a r l s r u h e , 1887).
E K B E R G , G U D R U N , ' E k p h o n e t i c N o t a t i o n ' , NG.

E K E N B E R G , A N D E R S , Cur cant at ur? Die Funktionen

des liturgischen
Gesangs nach den
Autoren der Karolingerzeit
( S t o c k h o l m , 1987).
E L L I N W O O D , L E O N A R D , Musica llennanni
Contracti (Eastman School of M u s i c Studies, 2 ;
Rochester, N Y , 1936).
E M E R S O N , J O H N A . , ' T h e Recovery of the W o l f f h e i m A n t i p h o n a l ' , Annates
(1958-63), 69-97.
' F r a g m e n t s of a T r o p c r f r o m S a i n t - M a r t i a l de L i m o g e s ' , Scriptorium,

musicologiques,

16 (1962), 3 6 9 -

72.
' U b e r E n t s t e h u n g u n d Inhalt v o n M u D ' , Kmjfb 48 (1964), 3 3 - 6 0 .
'Two
N e w l y Identified Offices for Saints Valeria and A u s t r i c l i n i a n u s b y A d e m a r de
C h a b a n n e s ( M s P a r i s , B i b l . N a t . , L a t i n 909, fols. 7 9 - 8 5 v ) ' , Speculum, 40 (1965), 3 1 - 4 6 .
'Sources, M S , I I : Western Plainchant', A G .
E N G E L Festschrift 1964 = Festschrift Hans Engel zum siebzigsten Geburtstag ( K a s s e l , 1964).
E P S T E I N , M A R C Y J . , Ludovicus
decus regnantium:
Perspectives o n the R h y m e d O f f i c e ' ,
Speculum,
53 (1978), 2 8 3 - 3 3 3 .
E R B A C H E R , R H A B A N U S , Tonus peregrinus:

Aus der

Geschichte

eines Psalm tons ( M i i n s t e r -

s c h w a r z a c h , 1971).
E S C U D I E R , D E N I S , ' L a N o t a t i o n musicale de S t . Vaast: E t u d e d'une particularite g r a p h i q u e ' ,
in H u g l o 1987, 1 0 7 - 1 8 .
E V A N S , J O A N , Monastic Life at Cluny, 910-1157 ( O x f o r d , 1931).
E V A N S , P A U L , ' S o m e Reflections on the O r i g i n s of the T r o p e ' , JAMS
14 (1961), 1 1 9 - 3 0 .
' T h e Tropi ad sequentiam',
i n S t r u n k Festschrift 1968, 7 3 - 8 2 .
7% 6* Early Trope Repertory of Saint Martial de Limoges ( P r i n c e t o n , N J , 1970).
' N o r t h e r n F r e n c h E l e m e n t s i n an E a r l y A q u i t a n i a n T r o p e r ' , i n H u s m a n n Festschrift
1970, 1 0 3 - 1 0 .
E V A N S , R O G E R W I L L I A M , ' A m a l a r i u s of M e t z a n d the S i n g i n g of the C a r o l i n g i a n Offices'
( D i s s . , N e w Y o r k U n i v e r s i t y , 1977; U M I 7 7 - 1 9 5 4 6 ) .
F A L C O N E R , K E I T H , ' E a r l y Versions of the G l o r i a T r o p e Pax sempiterna Christus\ JPMMS
7
(1984), 1 8 - 2 7 .
' A K y r i e and T h r e e G l o r i a T r o p e s i n a N o r w e g i a n M a n u s c r i p t F r a g m e n t ' , Svensk
Tidskrift for Musikforskning,
67 (1985), 7 7 - 8 8 .
' S o m e E a r l y T r o p e s to the G l o r i a ' ( D i s s . , Princeton U n i v e r s i t y , 1989; U M I 8 9 - 2 0 3 4 1 ) .
F A L L O W S , D A V I D , 'Sources, M S , I I I , 2 : Secular M o n o p h o n y , L a t i n ' , NG.
F A L V Y , Z O L T A N , Drei Reimoffizien
aus Ungarn und ihre Musik ( M u s i c o l o g i a H u n g a r i c a , N S ,
2; Budapest, 1968).
see also Codex Albensis.
F A R M E R , D A V I D H U G H , The Oxford Dictionary of Saints ( O x f o r d , 1978).
F A S S L E R , M A R G O T , ' M u s i c a l Exegesis i n the Sequences of A d a m and the C a n o n s of S t . V i c t o r '
( D i s s . , C o r n e l l U n i v e r s i t y , 1983; U M I 8 3 - 2 8 7 0 6 ) .
'Who was A d a m of S t . V i c t o r ? T h e E v i d e n c e of the Sequence M a n u s c r i p t s ' , JAMS
37
(1984), 2 3 3 - 6 9 .
' T h e Office of the C a n t o r i n E a r l y Western M o n a s t i c Rules and C u s t o m a r i e s : A
P r e l i m i n a r y Investigation', EMH 5 (1985), 2 9 - 5 1 .
' A c c e n t , M e t e r , a n d R h y t h m i n M e d i e v a l Treatises " D e r i t h m i s ' " , Journal of Musicology,
5 (1987), 1 6 4 - 9 0 .
F E I C H T Festschrift 1967 = Zofia Lissa (ed.), Studia Hieronymo Feicht septuagenario
dedicata
(Warsaw, 1967).

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).

' 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.

58-9

Kirchenmusik
im 19. Jahrhundert
( S t u d i e n z u r M u s i k des 19. J a h r h u n d e r t s , 2;
R e g e n s b u r g , 1985).
' G r e g o r i a n i k i m 19. Jahrhundert', i n Fellerer 1985, 9 - 9 5 .
arts. ' C a e c i l i a n i s m u s ' , ' C h o r a l r e f o r m ' , MGG.
F E L L E R E R Festschrift 1962 = H e i n r i c h H i i s c h e n (ed.), Festschrift Karl Gustav Fellerer
zum
sechzigsten Geburtstag am l.Juli
1962 (Regensburg, 1962).
F E N L O N , I A I N (ed.), Cambridge Music Manuscripts 900-1700 ( C a m b r i d g e , 1982).
F E R N A N D E Z D E L A C U E S T A , I S M A E L , Manuscritos y fuentes musicales en Espaha: Edad
( M a d r i d , 1980).
' L a i r r u p c i o n del canto gregoriano en Esparia', Revista
see also Antiphonale
Silense.

de musicologia,

media

8 (1985), 2 3 9 - 4 8 .

F R O T I N , M . , Le Liber ordinum en usage dans Veglise wisigothique et mozarabe dEspagne

cinquieme a Vonzieme siecle ( M o n u m e n t a ecclesiae l i t u r g i c a , 6; Paris, 1904).
F E R R E T T I , P A O L O , Principi
1913).

teoretici e practici

di canto gregoriano

// cursu metrico e it ritrno delle melodie gregoriane

(Rome,

du

1905; 3 r d e d n . ,

( R o m e , 1913).

' E t u d e sur la notation acquitaine d'apres le G r a d u e l de S a i n t - Y r i e i x ' , P a l M u s 13,

54-211.
'I manoscritti gregoriani d e l l ' A r c h i v i o d i Montecassino', i n Casinensia:
studi cassinensi pubblicati in occasione del XLV centenario delta fondazione

Miscellanea
delta badia

di
di

Montecassino,
i (Montecassino, 1929), 1 8 7 - 2 0 3 .
Estetica gregoriana:
Trattato delle forme musicali del canto gregoriano,
i ( R o m e , 1934);
trans. A . Agaesse: Esthetique
gregorienrie,
ou traite des formes musicales
du chant
gregorien, i (Solesmes, 1938).
Estetica gregoriana dei recitativi liturgici, e d . P . E r n e t t i ( V e n i c e , 1964).
F I A L A , V . , and I R T E N K A U F , W . , ' V e r s u c h einer liturgischen N o m e n k l a t u r ' , Zeitschrift
fur
Bibliothekszvesen
und Bibliographic
Sonderheft 1: Zur Katalogisierung
mittelalterlicher
und
neuerer Handschriften
( F r a n k f u r t , 1963), 1 0 5 - 3 7 .
F I C K E T T , M A R T H A V A N Z A N D T , ' C h a n t s for the Feast of St. M a r t i n of T o u r s ' ( D i s s . , C a t h o l i c
U n i v e r s i t y of A m e r i c a , 1983; U M I 8 4 - 0 1 4 7 5 ) .
.
F I S H E R ( K U R T V O N ) Festschrift 1973 = H a n s - I Ieinrich Eggebrecht and M a x L u t o l f
(eds.), Studien zur Tradition in der Musik: Kurt von Fischer zum 60. Geburtstag ( M u n i c h ,
1973).
F I S H E R ( K U R T V O N ) Festschrift 1973 = H a n s - H c i n r i c h Eggebrecht and M a x L u t o l f (eds.),
Studien zur Tradition in der Musik: Kurt von Fischer zum 60. Geburtstag ( M u n i c h , 1973).
F I S C H E R , L U D W I G (ed.), Bernhardt
cardinalis
et Lateranensis
ecclesiae prioris,
ordo
officiorum ecclesiae Lateranensis
( M u n i c h , 1916).
F i s c h e r , Pieter see R I S M .
F I S C H E R ( W I L H E L M ) Festschrift

1956 = Festschrift

Wilhelm

Fischer

zum

70.

Geburtstag,

iiberreicht
im Mozartjahr
3 ; I n n s b r u c k , 1956).

1956 (Innsbrucker Beitrage z u r K u l t u r w i s s e n s c h a f t , Sonderheft

F L E M I N G , K E I T H , ' T h e E d i t i n g of Some C o m m u n i o n M e l o d i e s i n M e d i e v a l
M a n u s c r i p t s ' ( D i s s . , C a t h o l i c U n i v e r s i t y of A m e r i c a , 1979; U M I 7 9 - 2 0 5 4 4 ) .

Chant

F L I N T , V A L E R I E I. J . , ' A r e H e i n r i c u s of A u g s b u r g and H o n o r i u s A u g u s t o d u n e n s i s the S a m e

P e r s o n ? ' RB, 92 (1982), 1 4 8 - 6 8 .
F L O R O S , C O N S T A N T I N , Universale

Neumenkunde,

3 vols. ( K a s s e l , 1970).

Einfuhrung
in die Neumenkunde
( W i l h e l m s h a f e n , 1980).
F L O T Z I N G E R , R U D O L F , ' Z U H e r k u n f t u n d D a t i e r u n g der G r a d u a l i e n G r a z 807 u n d W i e n
13314', SMH 31 (1989), 5 7 - 8 0 .
F L O Y D , M A L C O L M , 'Processional C h a n t s i n E n g l i s h Sources', JPMMS
13 (1990), 1 - 4 8 .
F O L E Y , E . , ' T h e C a n t o r i n H i s t o r i c a l Perspective', Worship, 56 (1982), 1 9 4 - 2 1 3 .
F O N T A I N E , G . , 'Presentation des missels diocesains frangais d u x v i i au x i x siecles',
e

Maison-Dieu,
141 (1980), 9 7 - 1 6 6 .
F O R T E S C U E , A D R I A N , The Ceremonies

of the Roman

Rite Described

La

( L o n d o n , 1917; r e v .

J . B . O ' C o n n e l l , 12th e d n . , 1962).

F O U R N I E R , D O M I N I Q U E M . , 'Sources scripturaires et provenance liturgique des pieces de chant
du g r a d u e l de P a u l V I . ( I . A n c i e n T e s t a m e n t ) ' , EG 21 (1986), 9 7 - 1 1 4 .
'Sources scripturaires et provenance l i t u r g i q u e des pieces de chant d u graduel de P a u l
V I . ( I I . L e s Psaumes)', EG 22 (1988), 1 0 9 - 7 5 .
F R A N C A , U M B E R T O , Le antifone bibliche dopo Pentecoste (Studia anselmiana, 7 3 ; R o m e , 1977).
F R E I S T E D T , H E I N R I C H , Die liqueszierenden
Noten des gregorianischen
Chorals ( F r i b o u r g ,
1929) .
F R N A U D , G E O R G E S , ' L e s T e m o i n s indirects d u chant liturgique en usage a R o m e aux i x et x
siecles', EG 3 (1959), 4 1 - 7 4 .
F R E R E , W A L T E R H O W A R D , The Winchester Troper from MSS of the Xth and Kith
Centuries
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

Gospel-Lectionary

(Alcuin

Club

Epistle-Lectionary

(Alcuin

Club

( H e n r y B r a d s h a w Society, 26, 40,

46; L o n d o n , 1904, 1911, and 1915).

see also AS; Graduate
Sarisburiense.

FROGER, JACQUES,
(1948), 6 - 4 8 .

' 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

FROGER,

J A C Q U E S , ' L e C h a n t de l'introi't', EL 62 (1948), 2 4 8 - 5 5 .

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 .
e

' 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,

dinterpretation
( T o u r n a i , 1951).
' L e s Recitations modales des 3
aquitains', EG 1 (1954), 9 - 4 5 .
GALLACHER,

P A T R I C K J . , and D A M I C O ,

ses principes

et 4

HELEN

constitutifs,

ses regies

pratiques

modes dans les manuscrits beneventains et

( e d s . ) , Hermeneutics

and

Medieval

Culture

( A l b a n y , N Y , 1989).
G A L L O , F . A L B E R T O , ' P h i l o l o g i c a l W o r k s o n M u s i c a l Treatises of the M i d d l e A g e s . A
B i b l i o g r a p h i c a l R e p o r t ' , AcM 44 (1972), 7 8 - 1 0 1 .
G A M B E R , K L A U S , Sakrament arty pen: Versuch einer Gruppierung
der Handschriften
und
Fragmente bis zur Jahrtausendwen.de
( T e x t e u n d A r b e i t e n , 4 9 - 5 0 ; B e u r o n , 1958).
' D a s L e c t i o n a r u n d Sakramentar des M u s a u s v o n M a s s i l i a ' , RB 69 (1959), 1 1 8 - 2 1 5 .
' F r a g m e n t eines mittelitalienischen Plenarmissale aus d e m 8. J h . ' , EL 76 (1962), 3 3 5 - 4 1 .
Codices liturgici Latini antiquiores ( S p i c i l e g i i F r i b u r g e n s i s , S u b s i d i a , 1; F r e i b u r g , 1963;
2 v o l s . , 2 n d e d n . , 1968; S u b s i d i a [supplement a n d indices], 1988).
G A R A N D , M . , ' L e M i s s e l clunisien de N o g e n t - l e - R o t r o u ' , i n B o u t e m y Festschrift 1976, 1 2 9 51.
GARSOIAN,

NINA

G., MATHEWS,

THOMAS

F . , and T H O M S O N ,

R O B E R T W . ( e d s . ) , East

of

Byzantium:
Syria and Armenia in the Formative
Period ( D u m b a r t o n O a k s , 1982).
G A S T O U F I , A M E D E E , ' L e C h a n t gallican', RCG 41 (1937), 1 0 1 - 6 , 1 3 1 - 3 , 1 6 7 - 7 6 ; 42 (1938), 5 12, 5 7 - 6 2 , 7 6 - 8 0 , 1 0 7 - 1 2 , 1 4 6 - 5 1 , 1 7 1 - 6 ; 43 (1939), 7 - 1 2 , 4 4 - 6 ; also p u b l i s h e d as a book
( G r e n o b l e , 1939).
G A T A R D , A . , ' A m b r o s i e n (chant)',
DACL.
G A U T I E R , L E O N , Histoire de la poesie liturgique au moyen age, i : Les Tropes (Paris, 1886).

G A V E L , M . H . , ' A propos des erreurs d'accentuation latine dans les livres liturgiques', EG 1
(1954), 8 3 - 1 4 8 .
G E L I N E A U , J O S E P H , Chant et musique dans le culte chretien, principes, lois et
applications
( P a r i s , 1962); trans. C . H o w e l l : Voices and Instruments in Christian Worship ( C o l l e g e v i l l e ,
M i n n . , 1964).
G E N N R I C H , F R I E D R I C H , Grundrifi einer Formenlehre des mittelalterlichen Liedes als Grundlage
einer musikalischen
Eomienlehre
des Liedes ( H a l l e , 1932).
G E R B E R T , M A R T I N , De cantu et musica sacra a prima ecclesiae aetate usque ad praesens
tempus 2 v o l s . (Sankt Blasien, 1774; repr. G r a z , 1968 w i t h i n t r o d u c t i o n a n d index by
y

O t h m a r Wessely).
see also G S .
G E V A E R T , F R A N C O I S - A U G U S T E , Les
1890).

Origines

du chant liturgique

de Veglise latine

(Ghent,

La Melopee antique dans le chant de Veglise latine ( G h e n t , 1895).

G I B S O N , M A R G A R E T (ed.), Boethius ( O x f o r d , 1981).
G I L I S S E N Festschrift 1985 = Jacques L e m a i r e a n d E m i l e van Balberghe (eds.), Calames et
cahiers: Melanges de codicologie et de paleographie offerts a Leon Gilissen (Brussels, 1985).
G I L L I N G H A M , B R Y A N (ed.), Paris, Bibliotheque
Nationale, fonds latin 1139 (Publications of
M e d i a e v a l M a n u s c r i p t s , 14; O t t a w a , 1987).
Paris, Bibliotheque
Nationale, fonds latin 3719 (Publications of M e d i a e v a l M a n u s c r i p t s ,
. 1 5 ; O t t a w a , 1987).
Paris, Bibliotheque
Nationale,
fonds latin 3549 and London, B. L., Add.
36,881
( P u b l i c a t i o n s of M e d i a e v a l M a n u s c r i p t s , 16; O t t a w a , 1987).
Cambridge,
University Library, Ff. i. 17(1) (Publications of M e d i a e v a l M a n u s c r i p t s , 17;
O t t a w a , 1989).
G I N D E L E , C O R B I N I A N , ' C h o r d i r e k t i o n des gregorianischen Gesangs i m M i t t e l a l t e r ' , Studien
und Mitteilungen zur Geschichte des Benediktiner
Ordens und seiner Zweige, 63 (1951),
31-44.
' D o p p e l c h o r u n d P s a l m v o r t r a g i m F r i i h m i t t e l a l t e r ' , Mf 6 (1953), 2 9 6 - 3 0 0 .
G I N G R A S , G . , Egeria: Diary of a Pilgrimage ( A n c i e n t C h r i s t i a n W r i t e r s , 38; N e w Y o r k ,
1970).
G J E R L O W , L I L L I , Adoratio Cruris,
the Regularis
Concordia
and the Deereta
Lanfranci:
Manuscript
Studies in the Early Medieval Church of Norway (Oslo, 1961).
Ordo Nidrosiensis
ecclesiae ( L i b r i l i t u r g i c i provinciae N i d r o s i s m e d i i aevi, 2 ; O s l o ,
1968).
' V o t i v e Masses F o u n d i n O s l o ' , EL 84 (1970), 1 1 3 - 2 8 .
Antiphonarium
Nidrosiensis ecclesiae ( L i b r i l i t u r g i c i provinciae N i d r o s i s m e d i i aevi, 3 ;
O s l o , 1979).
Liturgica
Islandica
( B i b l i o t h e c a Arnamagnaeana, 3 5 - 6 ; C o p e n h a g e n , 1980).
G L E E S O N , P H I L I P , ' D o m i n i c a n L i t u r g i c a l M a n u s c r i p t s before 1254', Archivum
fratrum
praedicatorum,
42 (1972), 8 1 - 1 3 5 .
G M E L C H , J O S E P H , Die Vierteltonstufen
im Mefitonale von Montpellier (Eichstatt, 1911).
G N E U S S , H E L M U T , Hymnar und Hymnarien im englischen Mittelalter
( T u b i n g e n , 1968).
G O E D E , N . D E , The Utrecht Prosarium
( M o n u m e n t a musica N e e r l a n d i c a , 6; A m s t e r d a m ,
1965) [ U t r e c h t , Bibliotheek der Rijskuniversiteit, 417].
G O L L N E R , T H E O D O R , ' U n k n o w n Spanish Passion T o n e s i n S i x t e e n t h - C e n t u r y H i s p a n i c
Sources', JAMS 28 (1975), 4 6 - 7 1 .

G O M B O S I , O T T O , ' S t u d i e n z u r T o n a r t l e h r e des fruhen Mittelalters', AcM 10 (1938), 1 7 4 - 9 4 ;

11 (1939), 2 8 - 3 9 , 1 2 8 - 3 5 ; 12 (1940), 2 1 - 5 2 .
' K e y , M o d e , Species', JAMS 4 (1951), 2 0 - 6 .
G O S C H L , J O H A N N E S B E R C H M A N S , Semiologische
Untersuchungen
zum Phdnomen der gregorianischen Liqueszenz:
Der isolierte dreistufige Epiphonus praepunctis,
ein
Sonderproblem
der Liqueszenzforschung,
2 vols. ( 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 , 3 ; V i e n n a ,
1980).
' D e r gegenwartige Stand der semiologischen F o r s c h u n g ' , BzG 1 (1985), 4 3 - 1 0 2 .
Gottesdienst der Kirche: Handbuch der Liturgieivissenschaft,
ed. Hans B. Meyer, Hansjorg
auf der M a u e r , Balthasar F i s c h e r , A n g e l u s A . H a u B l i n g , and B r u n o K l e i n h e y e r . V o l . i i i :
Gestalt des Gottesdienstes:
Sprachlich und nichtsprachliche
Ausdrucksformen
(Regensburg,
1987).
Graduate Arosierise impressum, e d . T o n i S c h m i d ( L a u r e n t i u s Petri Sallskapets U r k u n d s s e r i e ,
7; M a l m o and L u n d , 1 9 5 9 - 6 5 ) .
Graduate
V. Pont.
Graduate
Musik,

de tempore et de Sanctis juxta riturn Sanctae Romanae Ecclesiae cum cantu Pauli
Max. jussu reformato ( R o m e , 1898).
Patavierise
(Wien 1511): Faksirnile,
e d . C h r i s t i a n V a t e r l e i n ( D a s E r b e deutscher
8 7 ; K a s s e l , 1982).

Graduel romain . . . Chant restaure par la Commission de Reims et de Cambrai d'apres les
anciens manuscrits (Paris, 1874).
Graduel romain: Edition critique par les moines de Solesmes. I I : Les Sources (Solesmes,
1957); I V : Le Texte neumatique,
i: Le Groupement des manuscrits
(Solesmes, 1960); ii:
Les Relations genealogiques des manuscrits (Solesmes, 1962).
Graduel romain . . . publiee par la Commission Ecclesiastique
de Digne ( M a r s e i l l e s , 1872).
Graduate Romanum . . . restitutum et editum Pauli VI (Solesmes, 1974).
Graduate Sarisburiense
= Walter H o w a r d Frere (ed.), Graduate Sarisburiense:
A Reproduction in Facsimile
of a Manuscript
of the Thirteenth Century, with a Dissertation
and
Historical
Index Illustrating its Development
from the Gregorian Antiphonale
rnissamm
( L o n d o n , 1894).
G R & G O I R E , R E G I N A L D , Les Homeliaires
du moyen age: Inventaire et analyse des
manuscrits
( R e r u m ecclesiasticarum documenta, Series maior, 6; R o m e , 1966).
' R e p e r t o r i u m l i t u r g i c u m i t a l i c u m ' , Studi medievali,
3rd ser., 9 (1968), 4 6 3 - 5 9 2 ; 11
(1970), 5 3 7 - 5 6 ; 14 (1973), 1123-32.
Homeliaires
liturgiques medievaux
(Biblioteca degli ' S t u d i m e d i e v a l i ' , 12; Spoleto,
1980).
G R I S A R , H A R T M A N N , ' D i e G r e g o r b i o g r a p h i e des Paulus D i a k o n u s i n ihrer u r s p r i i n g l i c h e n
Gestalt, nach italienischen H a n d s c h r i f t e n ' , Zeitschrift fur katholische Theologie, 11 (1887),
158-73.
G R O S , M I Q U E L S . , ' E l Processoner de la Catedral de V i c V i c , M u s . E p i s c , M S 117
( C X X I V ) ' , MisceHania
liturgica catalana,
2 (1983), 7 3 - 1 3 0 .
G R O T E F E N D , H E R M A N N , Zeitrechnung
des deutschen Mittelalters
und der Neuzeit,
2 vols.
(Hannover, 1891-8).
Taschenbuch
der Zeitrechnung
des deutschen Mittelalters
und der Neuzeit
(Hannover
and L e i p z i g , 1898; 10th e d n . , 1960).
G u e n t n e r see C S M 24.
GUIDETTI,
G I O V A N N I D O M E N I C O , Directoriurn
chori ad usum sacrosanctae
basilicae
vaticanae
et aliamm cattedralium
( R o m e , 1582).

G U M P E L , K A R L - W E R N E R , ' Z u r Interpretation d e r T o n u s - D e f i n i t i o n des T o n a l e Sancti

B e r n a r d s , Akademie der Wissenschaften und der Literatur, Jahrgang 195912 (W iesbaden,
T

1959),

GUSHEE,

25-51.

L A W R E N C E A . , ' T h e Musica

Disciplina

of A u r e l i a n of Reome, a C r i t i c a l T e x t and

Commentary' (Diss., Yale University, 1 9 6 3 ; U M I 6 4 - 1 1 8 7 3 ) .

' Q u e s t i o n s of G e n r e i n M e d i e v a l Treatises on M u s i c ' , i n Schrade G e d e n k s c h r i f t 1 9 7 3 ,
365-433.

GY,

see also C S M 2 1 .
P I E R R E - M A R I E , ' C o l l e c t a i r e , r i t u e l , processional', Revue

theologiques,

4 4 (1960),

' T y p o l o g i e et ecclesiologie
(1975),

des sciences philosophiques

et

441-69.

des livres liturgiques medievaux', La Maison-Dieu,

121

7-21.

' L e s T r o p e s dans l'histoire de la liturgie et de la theologie', i n Iversen 1 9 8 3 , 7 - 1 6 .

' L ' I n f l u e n c e des chanoines de L u c q u e s sur la liturgie d u L a t r a n ' , Revue
58 (1984),'

religieuses,

des sciences

31-41.

' L e s R e p o n s de l'office nocturne p o u r la fete de S . M a r t i n ' , i n G i u s t i n o F a r n e d i (ed.),

Traditio et progressio: Studi liturgici in onore del Prof Adrien Nocent, OSB (= Studia
anselmiana,

95 (1988)),

215-23.

G Y Festschrift 1 9 9 0 = Rituels: Melanges offerts au Pere Gy OP, e d . P a u l de C l e r c k and E r i c

Palazzo (Paris, 1 9 9 0 ) .
G Y U G , R I C H A R D F . , ' T r o p e s and Prosulas i n D a l m a t i a n Sources of the 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 ' , i n L e o n a r d i and M e n e s t o 1 9 9 0 , 4 0 9 - 3 8 .
H A A P A N E N , T . , Verzeichnis der mittelalterlichen
Handschriftenfragmetite
in der
Universitatsbibliothek zu Helsingfors ( H e l s i n k i , 1 9 2 2 - 3 2 ) .
Die Neumenfragmente
der Universitdtsbibliothek
nordischen Musikgeschichte
(Helsinki, 1924).
H A A S , M A X , Byzantinische
und slavische Notationen

Helsingfors:

Eine Studie

zur dltesten

(Palaeographie der M u s i k , 1/2; C o l o g n e ,

1973).

' P r o b l e m e einer " U n i v e r s a l e N e u m e n k u n d e ' " , Forum musicologicum,

1 (1975), 3 0 5 - 2 2 .
' S t u d i e n z u r mittelalterlichen M u s i k l e h r e . I . E i n e U b e r s i c h t uber die M u s i k l e h r e i m
K o n t e x t der P h i l o s o p h i c des 1 3 . u n d fruhen 1 4 . Jahrhunderts', Forum musicologicum,
3
(1982),

223-456.

H A B E R L ( F E R D I N A N D ) Festschrift 1 9 7 7 = F r a n z A . Stein (ed.), Festschrift

FerdinandHaberl
zum 70. Geburtstag: Sacerdos et cantus gregoriani magister (Regensburg, 1 9 7 7 ) .
H A B E R L , F R A N Z X A V E R , 'Geschichte u n d W e r t der offiziellen C h o r b u c h e r ' , Kmjb 2 7 ( 1 9 0 2 ) ,
134-92.
HADDAN,

Relating
HAIN,

ARTHUR

WEST,

and S T U B B S ,

to Great Britain

and Ireland,

K A R L , Ein musikalischer

WILLIAM,

Councils

and

Ecclesiastical

Documents

3 vols. ( O x f o r d , 1 8 6 9 - 7 1 ) .

Palimpsest

( V G A 12; Fribourg,

1925).

H A L L I N G E R , K A S S I U S , Gorze-Kluny:
Studien
zu den monastischen
Lebensformen
Gegensatzen im Hochmittelalter
( S t u d i a anselmiana, 2 2 / 2 3 2 4 / 2 5 ; R o m e , 1 9 5 0 - 1 ) .

und

see also C C M .
H A L P E R I N , D A V I D , ' C o n t r i b u t i o n s to a M o r p h o l o g y of A m b r o s i a n C h a n t ' ( D i s s . , T e l A v i v
University,

1986).

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
der Wissenschaften

( 1 9 5 0 ) , no. 2 , 1 - 7 5 .

HAMMERSTEIN,

R E I N H O L D , Die Musik der Etigel:

Untersuchungen

zur Musikanschauung

des

( B e r n e , 1962).

Mittelalters

H a m m o n d see C S M 14.
HANDSCHIN,
Zeitschrift

J A C Q U E S , ' E i n mittelalterlicher Beitrag z u r L e h r e v o n der

9 (1926-7),

fur Musikwissenschaft,

' U b e r E s t a m p i e u n d Sequenz', Zeitschrift

(1930-1),

Spharenharmonie',

193-208.
12 (1929), 1 - 2 0 ; 13

fiir Musikzvissenschaft,

113-32.

'Sequenzprobleme',

Zeitschrift

17 (1935), 2 4 2 - 5 0 .

fur Musikwissenschaft,

' L ' O r g a n u m a 1 eglise et les exploits de l'abbe T u r s t i n ' , RCG 40 ( 1 9 3 6 - 7 ) , 1 7 9 - 8 2 ; 41

( 1 9 3 7 - 8 ) , 1 4 - 1 9 , 4 1 - 8 (see also D a v i d and H a n d s c h i n 1 9 3 5 - 7 ) .
' E i n e alte N e u m e n s c h n f t \ AcM 22 (1950), 6 9 - 9 7 ; 25 (1953), 8 7 - 8 .
' T r o p e , S e q u e n c e , a n d C o n d u c t u s ' , The New Oxford History

of Music,

i i , ed. Anselm

H u g h e s ( L o n d o n , 1952), 1 2 8 - 7 4 .
' S u r quelques tropaires grecs traduits en latin', Annates

musicologiques,

2 (1954), 2 7 - 6 0 .

' T h e T i m a e u s Scale', MD 4 (1950), 3 - 4 2 .

H A N D S C H I N G e d e n k s c h r i f t 1962 = I I . A n g l e s , G . B i r k n e r , C h . van den B o r r e n , F r . B e n n ,
A.

C a r a p e t y a n , a n d I I . H u s m a n n (eds.), In rnemoriam

Jacques

Handschin

(Strasburg,

1962).
H A N G G I , A . , Der Rheinauer
Friburgense,

Liber ordinarius

(Zurich

Rh 80, Anfang

12. Jh.)

(Spicilegium

1; 1957).

HANNICK, CHRISTIAN,

arts. ' A r m e n i a n R i t e , M u s i c of the', ' 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 ' , ' E t h i o p i a n R i t e , M u s i c of the', ' G e o r g i a n R i t e , M u s i c of the', NG.

HANSEN,

F I N N E G E L A N D , // 159

(Copenhagen,

Montpellier

1974).

' E d i t o r i a l P r o b l e m s C o n n e c t e d w i t h the T r a n s c r i p t i o n of H 159, M o n t p e l l i e r : T o n a r y of

St. B e n i g n e of D i j o n ' , EG 16 (1977), 1 6 1 - 7 2 .
The Grammar

of Gregorian

H A N S L I K , R . , Benedicti

Regula

Tonality,

2 vols. (Copenhagen,

1979).

( C o r p u s s c r i p t o r u m ecclesiasticorum l a t i n o r u m , 7 5 ; V i e n n a ,

1960; r e v . e d n . , 1977).
HANSSENS,

JEAN-MICHAEL,

Rome,

Amalarii

episcopi opera liturgica

omnia

( S t u d i e testi,

13840;

1948-50).

H a r b i n s o n see C S M 2 3 .
HARDISON,

O . B . , Christian

Rite and Christian

Drama

in the Middle

Ages ( B a l t i m o r e , M d . ,

1965).
HARRISON,

F R A N K L L . , Music in Medieval

'Benedicamus,

Conductus,

Britain

( L o n d o n , 1958; 2 n d e d n . , 1963).

C a r o l : A N e w l y - D i s c o v e r e d Source',

AcM

37

(1965),

35-48.
HARTZELL,

K . D R E W , ' A n U n k n o w n E n g l i s h Benedictine G r a d u a l of the E l e v e n t h C e n t u r y ' ,

Anglo-Saxon
'An

4 (1975), 1 3 1 - 4 4 .
in the B r i t i s h L i b r a r y ' ,

Anglo-Saxon

18 (1989), 4 5 - 9 7 .

England,
IIAUG,

England,

E l e v e n t h - C e n t u r y E n g l i s h M i s s a l Fragment
ANDREAS,

Schriftbild

der

Gesungerie
dltesten

und

schriftlich

ostfrdnkischen

dargestelite

Sequenz:

Sequenzenhandschriften

Beobachtungen

zum

(Neuhausen-Stuttgart,

1987).
H A Y B U R N , R O B E R T P . , Papal legislation
Minn.,

on Sacred Music,

95 A.D. to 1977 A.D. ( C o l l e g e v i l l e ,

1979).

H E A R D , E D M U N D B R O O K S , ' A l i a m u s i c a : A C h a p t e r i n the H i s t o r y of M e d i e v a l M u s i c T h e o r y '

( D i s s . , U n i v e r s i t y of W i s c o n s i n , 1966; U M I 6 6 - 1 3 7 9 8 ) .

H E I M I N G , O D I L O , ' Z u m monastischen O f f i z i u m v o n K a s s i a n u s bis K o l u m b a n u s ' , Archiv fiir

Liturgiewissenschaft,
7 (1961), 8 9 - 1 5 6 .
' D a s C o r p u s A m b r o s i a n o - L i t u r g i c u m . E i n Bericht', EL 92 (1978), 4 7 7 - 8 0 .
I I E I S L E R , M A R I A - E L I S A B E T H , ' D i e Problematik des " g e r m a n i s c h e n " oder " d e u t s c h e n " C h o r a l dialekts', SMH 27 (1985), 6 7 - 8 2 .
' S t u d i e n z u m ostfrankischen C h o r a l d i a l e k t ' ( D i s s . , F r a n k f u r t , 1987).
I I E I T Z , C A R O L , Recherches
sur les rapports e tit re architecture
et liturgie a Vepoque
carolingienne
(Paris, 1963).
I I E L A N D E R , S . , Ordinarius
Lincopensis
och dess litutgiska forebilder
[ T h e O r d i n a l of
L i n k o p i n g a n d its l i t u r g i c a l models] (Bibliotheca theologica practicae, 4 ; L u n d , 1957).
H E N D E R S O N , I S O B E L , ' A n c i e n t G r e e k M u s i c ' , New Oxford History of Music,
i , ed. Egon
W e l l e s z ( O x f o r d , 1957), 3 3 6 - 4 0 3 .
H E N D E R S O N , W I L L I A M G . , Missale ad usum insignis ecclesiae
5 9 - 6 0 ; L o n d o n , 1874).
Missale

ad usum percelebtis

ecclesiae

(ed.), Manuale et processionale

6 3 ; L o n d o n , 1875).

Herfordensis

(Surtees Society,

Eboracensis

( L e e d s , 1874).
(Surtees Society,

ad usum insignis ecclesiae Eboracensis

(ed.), Processionale
ad usum insignis ac praeclarae ecclesiae Sarum ( L e e d s , 1882).
H E R L I N G E R , J A N , 77? ^ Lucid atium of Marchetto of Padua: A Critical Edition, Translation,
and
Commentary) ( C h i c a g o , 1985).
I I E R M E S D O R F F , M I C H A E L , Graduate juxta usum ecclesiae cathedralis
Trevirensis
dispositum.
Quod ex veteribus codicibus
originalibus
accuratissime
conscriptum
et novis
interim
ordinatis sen indultis festis auction ( T r i e r , 1863).
Graduate ad norm am cantus S. Gregorii, auf Grund der Eorschungs-Resultate
und unter
Beihilfe der Mitglieder des Vereins zur Erforschung alter Choralhandschriften
nach den
dltesten und zuverlassigsten
Quellen ( T r i e r , 1 8 7 6 - 8 2 ) .
1 I E R Z Festschrift 1982 = Robert L . Weaver (ed.), Essays on the Music of J. S. Bach and Other
Divers Subjects: A Tribute to Gerhard Herz ( L o u i s v i l l e , K y . , 1982).
H E R Z O , A N T H O N Y M A R I E , 'Five Aquitanian Graduals: T h e i r Mass Propers and Alleluia
C y c l e s ' ( D i s s . , U n i v e r s i t y of S o u t h e r n C a l i f o r n i a , 1967; U M I 6 7 - 1 0 7 6 2 ) .
H E S B E R T , R E N E - J E A N , ' L a Messe " O m n e s gentes" d u v n d i m a n c h e apres la Pentecote et
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 ' , RG 17 (1932), 8 1 - 9 , 1 7 0 - 9 ; 18 (1933), 1 - 1 4 .
' L e s D i m a n c h e s de C a r e m e dans les manuscrits romano-beneventains', EL 48 (1934),
198-222.
c

' L " ' A n t i p h o n a l e M i s s a r u m " de l'ancien rit beneventain', EL 52 (1938), 2 8 - 6 6 , 1 4 1 - 5 8 ;

53 (1939), 1 6 8 - 9 0 ; 59 (1945), 6 9 - 9 5 ; 60 (1946), 1 0 3 - 4 1 ; 61 (1947), 1 5 3 - 2 1 0 .
' U n c u r i e u x antiphonaire palimpseste de l ' o f f k e . R o u e n , A . 292 ( I X s.)', RB 64 (1954),
28-45.
' L ' A n t i p h o n a i r e d ' A m a l a r ' , EL 94 (1980), 1 7 6 - 9 4 .
e

' L ' A n t i p h o n a i r e de la C u r i e ' , EL 94 (1980), 4 3 1 - 5 9 .

' T h e S a r u m A n t i p h o n e r I t s Sources and Influence', JPMMS
3 (1980), 4 9 - 5 5 .
' L e s A n t i p h o n a i r e s monastiques insulaires', RB 112 (1982), 3 5 8 - 7 5 .
' L e s M a t i n e s de Paques dans la tradition monastique', Studia monastica,
24 (1982), 3 1 1 48.
see also AMS, CAO, and M M S .
H I L E Y , D A V I D (with J u l i a n B r o w n and Sonia Patterson), ' F u r t h e r O b s e r v a t i o n s o n W l ' ,
JPMMS
3 (1980), 5 3 - 8 0 .

H I L E Y , D A V I D ' T h e N o r m a n C h a n t T r a d i t i o n s N o r m a n d y , B r i t a i n , S i c i l y ' , Proceedings of the

Royal Musical Association,
107 ( 1 9 8 0 - 1 ) , 1 - 3 3 .
' T h e L i t u r g i c a l M u s i c of N o r m a n S i c i l y : A S t u d y C e n t r e d o n M a n u s c r i p t s 288, 289,
19421 and V i t r i n a 2 0 - 4 of the Biblioteca N a c i o n a l , M a d r i d ' ( D i s s . , L o n d o n , 1981; B r i t i s h
T h e s e s D70780/82).
' S o m e Observations on the Relationships between T r o p e Repertories', i n Iversen 1983,
29-38.
' Q u a n t o c'e d i n o r m a n n o nei tropari s i c u l o - n o r m a n n i ? ' , RIM 18 (1983), 3 - 2 8 .
' T h e P l i c a and L i q u e s c e n c e ' , i n A n d e r s o n G e d e n k s c h r i f t 1984, 3 7 9 - 9 1 .
' O r d i n a r y of M a s s C h a n t s in E n g l i s h , N o r t h F r e n c h and S i c i l i a n M a n u s c r i p t s ' , JPMhIS
9 (1986), 1 - 1 2 8 .
' T h u r s t a n of C a e n and Plainchant at G l a s t o n b u r y : M u s i c o l o g i c a l Reflections on the
N o r m a n C o n q u e s t ' , Proceedings of the British Academy, 72 (1986), 5 7 - 9 0 .
' T h e R h y m e d Sequence i n E n g l a n d : A P r e l i m i n a r y S u r v e y ' , i n H u g l o 1987, 2 2 7 - 4 6 .
' T h e C h a n t of N o r m a n S i c i l y : Interaction between the N o r m a n and Italian T r a d i t i o n s ' ,
SMH
30 (1988), 3 7 9 - 9 1 .
' C l u n y , Sequences and T r o p e s ' , in L e o n a r d i and Menesto 1990, 1 2 5 - 3 8 .
' E d i t i n g the Winchester Sequence Repertory of ca. 1000', i n C a n t u s P l a n u s 1990, 9 9 113.
arts. ' N e o - G a l l i c a n C h a n t ' , ' N e u m a ' , ' N o t a t i o n , I I I , 1: W e s t e r n , P l a i n c h a n t ' , ' P o n t i f i c a l ' ,
NG.
H O F L E R , J . , ' R e k o n s t r u k c i j a srednjeveskega sekvenciarija v osrednji Sloveniji/Reconstruction
of the medieval sequencer i n C e n t r a l Slovenia', Muzikoloski zbornik, 3 (1967), 5.
H O F M A N N - B R A N D T , H E L M A , Die Tropen zu den Responsorien des Officium, 2 vols. ( D i s s . ,
E r l a n g e n - N t i r n b e r g U n i v e r s i t y , 1971).
H O H L E R , C H R I S T O P H E R , ' T h e Proper Office of St. N i c h o l a s and Related M a t t e r s w i t h
Reference to a Recent Book', Medium aevum, 36 (1967), 4 0 - 8 .
' A N o t e on Jacobus', Journal of the Warburg and Court auld Institutes, 35 (1972), 3 1 - 8 0 .
'Reflections on S o m e M a n u s c r i p t s C o n t a i n i n g 13th-Century P o l y p h o n y ' , JPMMS
1
(1978), 2 - 3 8 .
review of B a b b , Hucbald, Guido, and John on Music, in JPMMS
3 (1980), 5 7 - 8 .
H O L D E R , S T E P H E N , ' T h e N o t e d 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 : F i t z w i l l i a m M u s e u m
M a n u s c r i p t 369', JPMMS
8 (1985), 2 5 - 3 2 .
H O L L A E N D E R , A L B E R T , ' T h e S a r u m I l l u m i n a t o r and his S c h o o l ' , Wiltshire Archaeological
and
Natural History Magazine,
1 (1942-4), 230-62.
H O L M A N , H A N S - J O R G E N , ' T h e Responsoria p r o l i x a of the C o d e x Worcester F 160' ( D i s s . ,
Indiana U n i v e r s i t y , 1961; U M I 6 1 - 0 4 4 4 7 ) .
' M e l i s m a t i c T r o p e s i n the Responsories for M a t i n s ' , JAMS
16 (1963), 3 6 - 4 6 .
H O L S C H N E I D E R , A N D R E A S , Die Organa von Winchester: Studien zum dltesten
Repertoire
polyphoner Musik ( H i l d e s h e i m , 1968).
' I n s t r u m e n t a l T i t l e s to the Sequentiae of the W i n c h e s t e r T r o p e r s ' , i n W e s t r u p
Festschrift 1975, 8 - 1 8 .
' D i e instrumentalen T o n b u c h s t a b e n i m Winchester T r o p e r ' , in D a d e l s e n Festschrift
1978, 1 5 5 - 6 6 .
H O L T Z , L o u i s , ' Q u e l q u e s aspects de la tradition et de la d i f f u s i o n des " I n s t i t u t i o n e s " ' , in
Flavio Magno Aurelio Cassiodoro: Atti delta Settimana di Studi su Cassiodoro
(CosenzaR o s s a n o - S q u i l l a c e , 1984), 2 8 1 - 3 1 2 .

I I O M A N , F R E D E R I C W . , ' F i n a l and Internal C a d e n t i a l Patterns i n G r e g o r i a n C h a n t ' , JAA1S 17

(1964), 6 6 - 7 7 .
H O P P I N , R I C H A R D H . , Cypriot Plainchant of the Manuscript Torino, Biblioteca Nazionale
J.
II. 9 ( M u s i c o l o g i c a l S t u d i e s a n d D o c u m e n t s , 19; R o m e , 1968).
H O U R L I E R , J A C Q U E S , ' L e D o m a i n e de la notation messine', RG 30 (1951), 9 6 - 1 1 3 , 1 5 0 - 8 .
' R e m a r q u e s sur la n o t a t i o n clunisienne', RG 30 (1951), 2 3 1 - 4 0 .
'Le

B r e v i a i r e de S a i n t - T a u r i n : U n livre liturgique clunisien a l'usage de l ' E c h e l l e - S a i n t -

A u r i n (Paris B . N . lat. 12601)', EG 3 (1959), 1 6 3 - 7 3 .

' N o t e s s u r l'antiphonie', i n Schrade G e d e n k s c h r i f t 1973, 1 1 6 - 4 3 .
' L ' O r i g i n e des neumes', i n C a r d i n e Festschrift 1980, 3 5 4 - 6 1 .
and H U G L O , M I C H E L , ' L a N o t a t i o n paleofranque', EG 2 (1957), 2 1 2 - 1 9 .
' E t u d e sur la notation beneventaine', P a l M u s 15, 7 1 - 1 6 1 .
H R A B A N U S M A U R U S , Artium liberalium
P L 107, 3 7 7 - 4 2 0 .
De computo, P L 107, 6 6 9 - 7 2 8 .

ordo et natura

(Book 3 of De clericorum

institutione),

H U C K E , H E L M U T , ' U n t e r s u c h u n g e n z u m Begriff " A n t i p h o n " u n d z u r M e l o d i k der O f f i z i u m s a n t i p h o n e n ' ( D i s s . , F r e i b u r g i m B r . , 1951).

' M u s i k a l i s c h e F o r m e n der O f f i z i u m s a n t i p h o n e n ' , Kmjb 37 (1953), 7 - 3 3 .
' D i e E n t w i c k l u n g des c h r i s t l i c h e n Kultgesangs z u m G r e g o r i a n i s c h e n G e s a n g ' Rbmische
Ouartalschrift,
48 (1953), 1 4 7 - 9 4 .
' D i e E i n f i i h r u n g des Gregorianischen Gesangs i m Frankenreich', Rbmische
Quartalschrift,
49 (1954), 1 7 2 - 8 7 .
' I m p r o v i s a t i o n i m (gregorianischen G e s a n g ' , Kmjb 38 (1954), 5 - 8 .
' D i e T r a d i t i o n des G r e g o r i a n i s c h e n Gesanges i n der romischen S c h o l a c a n t o r u m ' , i n
Congress V i e n n a 1954, 1 2 0 - 3 .
' G r a d u a l e ' , EL 69 (1955), 2 6 2 - 4 .
'Gregorianischer
(1955), 7 4 - 8 7 .

Gesang

i n altromischer

u n d frankischer U b e r l i e f e r u n g ' , AfMw

12

' D i e E n t s t e h u n g der U b e r l i e f e r u n g v o n einer musikalischen T a t i g k e i t G r e g o r s des

G r o B e n ' , Mf 8 (1955), 2 5 9 - 6 4 .
'Die G r e g o r i a n i s c h e G r a d u a l e w e i s e des 2. T o n s u n d ihre ambrosianischen Parallelen.
E i n Beitrag z u r E r f o r s c h u n g des A m b r o s i a n i s c h e n Gesangs', AfMw 13 (1956), 2 8 5 - 3 1 4 .
' C a n t u s gregorianus', i n H e r m a n n S c h m i d t 1 9 5 6 - 7 , i i . 9 0 1 - 5 0 .
' E i n e unbekannte M e l o d i e z u den L a u d e s regiae', Kmjb 42 (1958), 3 2 - 8 .
' Z u einigen P r o b l e m e n der C h o r a l f o r s c h u n g ' , Mf U (1958), 3 8 5 - 4 1 4 .
' Z u m P r o b l e m des R h y t h m u s i m G r e g o r i a n i s c h e n G e s a n g ' , i n Congress C o l o g n e 1958,
141-3.
'War G r e g o r der G r o B e d o c h M u s i k e r ? ' , Mf 18 (1965), 3 9 0 - 3 .
' T r a c t u s s t u d i e n ' , i n S t a b l e i n Festschrift 1967, 1 1 6 - 2 0 .
'Die T e x t e der O f f e r t o r i e n ' , i n H u s m a n n Festschrift 1970, 1 9 3 - 2 0 3 .
' L e P r o b l e m e de la m u s i q u e religieuse', La Maison-Dieu,
108 (1971), 7 - 2 0 .
' D a s R e s p o n s o r i u m ' , i n Schrade G e d e n k s c h r i f t 1973, 1 4 4 - 9 1 .
'Die H e r k u n f t der Kirchentonarten u n d die frankische Uberlieferung des Gregorianischen
Gesangs', i n Congress B e r l i n 1974, 2 5 7 - 6 0 .
' K a r o l i n g i s c h e Renaissance u n d Gregorianischer G e s a n g ' , Mf 28 (1975), 4 - 1 8 .
' D e r U b e r g a n g v o n m u n d l i c h e r z u schriftlicher M u s i k u b e r l i e f e r u n g i m M i t t e l a l t e r ' , i n
Congress Berkeley 1977, 1 8 0 - 9 1 .

H U C K E , H E L M U T , ' D i e C h e i r o n o m i e u n d die E n t s t e h u n g der N e w u m e n s c h r i f t ' , Mf 32 (1979),

1-6.
' T o w a r d s a N e w H i s t o r i c a l V i e w of G r e g o r i a n C h a n t ' , JAMS
33 (1980), 4 3 7 - 6 7 .
' Z u r A u f z e i c h n u n g der altromischen O f f e r t o r i e n ' , i n C a r d i n e Festschrift 1980, 2 9 6 - 3 1 3 .
' D i e A n f a n g e der Bearbeitung', Schweizer Jahrbuch
fiir Musikwissenschaft,
NS, 3
(1983), 1 5 - 2 0 .
' D i e A n f a n g e der abendlandischen N o t e n s c h r i f t ' , i n Elvers Festschrift 1985, 2 7 1 - 8 8 .
' G r e g o r i a n i s c h e Palaographie als Uberlieferungsgeschichte', i n H u g l o 1987, 6 1 - 5 .
' C h o r a l f o r s c h u n g u n d Musikwissenschaft', i n D a h l h a u s Festschrift 1988, 1 3 1 - 4 1 .
' G r e g o r i a n i s c h e F r a g e n ' , A//41 (1988), 3 0 4 - 3 0 .
' R e s p o n s o r i u m ' , MGG.
arts. ' G r a d u a l (i)', ' G r e g o r i a n and O l d R o m a n C h a n t ' , ' G r e g o r y the G r e a t ' , ' T r a c t ' ,
and H U G L O ,

M I C H E L , 'Communion',

NG.

NG.

H U D O V S K Y , Z O R A N , ' M i s s a l e beneventanum M R 166 della Biblioteca metropolitana a

Z a g r a b i a ' , Jucunda
laudatio,
3 (1965), 306.
'Benedictionale M R 89 of the M e t r o p o l i t a n L i b r a r y i n Zagreb', SMH 9 (1967), 5 5 - 7 5 .
' N e u m a t s k i r u k o p i s A g e n d a Pontificalis M R 165 Metropolitanske knjiznice u Z a g r e b u ' ,
Art? musices, 2 (1971), 1 7 - 3 0 .
H U G H E S , A N D R E W , Fifteenth Century Liturgical Music: I, Antiphons and Music for Holy Week
and Easter ( E a r l y E n g l i s h C h u r c h M u s i c , 8; L o n d o n , 1968).
Medieval
Medieval

Music: The Sixth Liberal Art ( T o r o n t o , 1974; 2 n d e d n . , 1980).

Manuscripts
for Mass and Office: A Guide to their Organization

and

Terminology
( T o r o n t o , 1982).
' M o d a l O r d e r a n d D i s o r d e r i n the R h y m e d Office', MD 37 (1983), 2 9 - 5 2 .
' L a t e M e d i e v a l R h y m e d Offices', JPMMS
8 (1985), 3 3 - 4 9 .
' R h y m e d Office', NG.
H U G H E S , A N S E L M , Anglo-French
Sequelae, Edited from the Papers of the Late Dr. Heniy
Marriott Bannister
( B u r n h a m , 1934).
The Portiforium of Saint Wulstan (Corpus Christi College, Cambridge, Ms. 391) ( H e n r y
B r a d s h a w Society, 89 and 90; L e i g h t o n B u z z a r d , 1958, 1960).
The Bee Missal ( H e n r y Bradshaw Society, 94; L e i g h t o n B u z z a r d , 1963).
H U G H E S , D A V I D G . , ' F u r t h e r Notes on the G r o u p i n g of the A q u i t a n i a n T r o p e r s ' , JAMS
19
(1966), 3 - 1 2 .
' M u s i c for St. Stephen at L a o n ' , i n M e r r i t t Festschrift 1972, 1 3 7 - 5 9 .
' V a r i a n t s i n A n t i p h o n F a m i l i e s : N o t a t i o n and T r a d i t i o n ' , in Congress S t r a s b o u r g 1982,
ii. 29-48.
' E v i d e n c e for the T r a d i t i o n a l V i e w of the T r a n s m i s s i o n of G r e g o r i a n C h a n t ' , JAMS
40
(1987), 3 7 7 - 4 0 4 .
H U G L O , M I C H E L , ' L a T r a d i t i o n occidentale des melodies byzantines d u Sanctus', i n J o h n e r
Festschrift 1950, 4 0 - 6 .
' L a M e l o d i e grecque d u " G l o r i a i n excelsis" et son utilisation dans le G l o r i a X I V , RG 29
(1950), 3 0 - 4 0 .
' O n g i n e de la melodie d u C r e d o authentique de l ' E d i t i o n Vaticane', RG 30 (1951), 6 8 - 7 8 .
' L e s A n t i e n n e s de la procession des reliques: Vestiges d u chant " V i e u x R o m a n " dans le
p o n t i f i c a l ' , RG 31 (1952), 1 3 6 - 9 .
' U n t o n a i r e d u graduel de la fin d u V H P siecle (Paris, B . N . lat. 15139)', RG 31 (1952),
176-86, 224-33.

 ' L e s N o m s des neumes et leur origine', EG 1 (1954), 5 3 - 6 7 .

' L e C h a n t v i e u x - r o m a i n : M a n u s c r i t s et temoins indirects', Sacris erudiri,
124.

6 (1954), 9 6 -

'Vestiges d ' u n ancien repertoire musical de Haute-Italie', i n Congress V i e n n a 1954,

142-5.
' A n t i f o n e antiche per la "fractio p a n i s ' " , Ambrosius.
(1955), 8 5 - 9 5 .

Rivista

di pastorale

ambrosiana,

' L e s Preces des graduels aquitains empruntes a la liturgie hispanique', Hispania

(1955), 3 6 1 - 8 3 .

sacra,

31
8

' L e T o n a i r e de S a i n t - B e n i g n e de D i j o n ' , Ann ales musicologiques,

4 (1956), 7 - 1 8 .
' T r o i s anciens manuscrits liturgiques d ' A u v e r g n e , i i : L e G r a d u e l d ' u n prieure c l u n i s i e n
d ' A u v e r g n e ' , Bulletin historique et scientifique de VAuvergne, 11 (1957), 8 1 - 1 0 4 at 9 2 - 1 0 0 .
' O r i g i n e et d i f f u s i o n des K y r i e ' , RG 37 (1958), 8 5 - 7 .
' L e D o m a i n e de la notation bretonne', AcM 35 (1963), 5 3 - 8 4 .
' L a C h i r o n o m i e medievale', Revue de musicologie, 49 (1963), 1 5 5 - 7 1 .
' L e C h a n t des Beatitudes dans la liturgie hispanique', Hispania
40.

sacra,

17 (1964), 1 3 5 -

' L e s C h a n t s de la M i s s a greca de S a i n t - D e n i s ' , i n Wellesz Festschrift 1966, 7 4 - 8 3 .

' R e g l e m e n t d u x i n siecle p o u r la transcription de livres notes', i n Stablein F e s t s c h r i f t
1967, 1 2 1 - 3 3 .
e

' U n theoricien d u x i siecle: H e n r i d ' A u g s b o u r g ' , Revue de musicologie,

e

53 (1967), 5 7 - 9 .

' U n troisieme t e m o i n d u tonaire carolingien', AcM 40 (1968), 2 2 - 8 .

' L ' A u t e u r d u D i a l o g u e sur la M u s i q u e attribute a O d o n ' , Revue de musicologie,
55
(1969), 1 1 9 - 7 1 .
' L e s L i s t e s alleluiatiques dans les temoins d u graduel gregorien', i n H u s m a n n Festschrift
1970, 2 1 9 - 2 7 .
Ijes Tonaire S: Invent aire, analyse, cornparaison
(Paris, 1971).
' D e r P r o l o g des O d o zugeschriebenen " D i a l o g u s de M u s i c a ' " , AfMw 28 (1971), 1 3 4 - 4 6 .
' C o r n p a r a i s o n de la terminologie modale en orient et en Occident', i n C o n g r e s s
C o p e n h a g e n 1972, i i . 7 5 8 - 6 1 .
' L ' I n t r o d u c t i o n en Occident des formules byzantines d'intonation', Studies in Eastern
Chant, 3 (1973), 8 1 - 9 0 .
' T r a d i t i o n orale et t r a d i t i o n ecrite dans la transmission des melodies gregoriennes', i n
K u r t v o n F i s c h e r Festschrift 1973, 3 1 - 4 2 .
' L e G r a d u e l palimpseste de Plaisance (Paris, B . N . , lat. 7102)', Scriptorium,
3-31.

28 (1974),

' L e D e v e l o p p e m e n t d u vocabulaire de l ' A r s M u s i c a a l'epoque carolingienne',

Latomus,
34 (1975), 1 3 1 5 1 .
' L i t u r g i a e m u s i c a sacra aquileiese', i n G . F o l e n a (ed.), Storia della cultura veneta dalle
origini al trecento ( V i c e n z a , 1976), 3 1 2 - 2 5 .
' L ' A u t e u r d u traite de m u s i q u e dedie a Fulgence d ' A f f l i g e m ' , Revue beige de
31 (1977), 5 - 2 0 .

musicologie,

' L e s L i v r e s liturgiques de la C h a i s e - D i e u ' , RB 87 (1977), 6 2 - 9 6 , 2 8 9 - 3 4 8 .

' A u x origines des tropes d ' i n t e r p o l a t i o n : L e trope m e l o f o r m d'introit', Revue
musicologie, 64 (1978), 5 - 5 4 .
' L e s Remaniements

de

de l ' A n t i p h o n a i r e gregorien au i x siecle: H e l i s a c h a r , A g o b a r d ,

e

A m a l a i r e ' , i n Culto cristiano, politico imperiale carolinga. XVIII Convegno internazionale

studi sulla spiritualita medievale ( T o d i , 1979), 8 7 - 1 2 0 .
' A b e l a r d , poete et m u s i c i e n ' , Cahiers de civilisation
medievale X -XIP
siecles,
(1979), 3 4 9 - 6 1 .
C

di
22

' O n the O r i g i n s of the T r o p e r - P r o s e r ' , JPMMS

2 (1979), 1 1 - 1 8 .
' L e s D e b u t s de la p o l y p h o n i c a P a r i s : L e s premiers organa parisiens',
Forum
musicologicum,
3 (1982), 9 3 - 1 6 4 .
' L e R e p o n s - G r a d u e l de la messe: E v o l u t i o n de la forme. Permanence de la f o n c t i o n ' ,
Schweizer Jahrbuch fiir Musikwissenschaft,
N S , 2 (1982), 5 3 - 7 3 .
' R e m a r q u e s sur la notation musicale d u breviaire de S a i n t - V i c t o r - s u r - R h i n s ' , RB 93
(1983), 1 3 2 - 6 .
' L ' A n c i e n C h a n t beneventain', Ecclesia

orans, 2 (1985), 2 6 5 - 9 3 .

' A n a l y s e codicologique des drames liturgiques de F l e u r y ' , i n G i l i s s e n Festschrift 1985,

61-78.
' L a N o t a t i o n wisigothique est-elle plus ancienne que les autres notations europeennes?',
in Congress Salamanca 1985, 1 9 - 2 6 .
' L a Penetration des manuscrits aquitains en Espagne', Revista de musicologia,
8 (1985),
249-56.
(ed.), Musicologie medievale: Notations et sequences, Table ronde du CNRS a VIRIFr
d'Orleans-La
Source, 10-12 Septembre 1982 (Paris and G e n e v a , 1987).
Les Livres de chant liturgique ( T y p o l o g i e des sources d u M o y e n A g e occidental, 5 2 ;
T u r n h o u t , 1988).
' B i b l i o g r a p h i e des editions et etudes relatives a la theorie musicale d u M o y e n A g e ( 1 9 7 2 1987)', AcM 60 (1988), 2 2 9 - 7 2 .
' B i l a n de 50 annees de recherches (1939-1989) sur les notations musicales de 850 a 1300',
AcM 62 (1990), 2 2 4 - 5 9 .
arts. ' O A n t i p h o n s ' , 'Offertory C h a n t ' , NCE.
arts. ' A n t i p h o n ' , ' A n t i p h o n e r ' , ' B r e v i a r y ' , ' C l u n i a c M o n k s ' , ' E p i s t l e ' , ' E x u l t e t ' , 'Farse',
' G a l l i c a n R i t e , M u s i c of the' [trans, and rev. f r o m ' A l t g a l l i k a n i s c h e L i t u r g i e ' i n Fellerer
1972, 21933], ' G e r b e r t d ' A u r i l l a c ' , ' G o s p e l ' , ' G r a d u a l (ii)', ' L i t a n y ' , ' M i s s a l ' , ' O d o ' ,
'Processional', ' T o n a r y ' , NG.
et al., Fonti e paleografia del canto ambrosiano ( M i l a n , 1956).
see also R I S M B/III/3.
H U N T , N O R E E N , Cluny under St. Hugh, 1049-1109 ( L o n d o n , 1967).
H U S C H E N , H E I N R I C H , 'Regino von P r u m , Historiker, Kirchenrechtler u n d Musiktheoretiker',
in Fellerer Festschrift 1962, 2 0 5 - 2 3 .
arts. ' A r s musica', ' A r t e s liberales', ' A u g u s t i n e r ' , ' B e n e d i k t i n e r ' , ' D o m i n i k a n e r ' , T r a n z iskaner', ' H a r m o n i e ' , ' K a r t a u s e r ' , 'Pramonstratenser', 'Zisterzienser', MGG.
H U S C H E N F E S T S C H R I F T 1980 = Detlef A l t e n b u r g (ed.), Ars musica,
musica
scientia:
Festschrift
Heinrich
Huschen
zum
65.
Geburtstag
(Beitrage
z u r rheinischen
M u s i k g e s c h i c h t e , 126; K a s s e l , 1980).
H U S M A N N , H E I N R I C H , ' D i e St. G a l l e r Sequenztradition bei N o t k e r u n d E k k e h a r d ' , AcM 26
(1954), 6 - 1 8 .
'Sequenz u n d Prosa', Annates musicologiques,
2 (1954), 6 1 - 9 1 .
' D a s A l l e l u i a M u l t i f a r i e u n d die vorgregorianische Stufe des Sequenzengesanges',
Schneider Festschrift 1955, 1 7 - 2 3 .

in

' A l l e l u i a , V e r s u n d Sequenz', Annates musicologiques,

4 (1956), 1 9 - 5 3 .
'Iustus ut p a l m a . A l l e l u i a u n d Sequenzen i n St. G a l l e n u n d St. M a r t i a l ' , Revue beige de
musicologie,
10 (1956), 1 1 2 - 2 8 .
' D i e A l l e l u i a u n d Sequenzen der M a t e r - G r u p p e ' , i n Congress V i e n n a 1956, 2 7 6 - 8 4 .
' Z u m G r o B a u f b a u der A m b r o s i a n i s c h e n A l l e l u i a ' , Anuario musical, 12 (1957), 1 7 - 3 3 .
' A l l e l u i a , Sequenz u n d Prosa i m altspanischen C h o r a l ' , i n A n g l e s Festschrift
407-15.
' S i n n u n d W e s e n der T r o p e n ' , AfMw 16 (1959), 1 3 5 - 4 7 .
' E c c e puerpera genuit. Z u r Geschichte
Festschrift 1961, 5 9 - 6 5 .
Grundlagen
der antiken und orientalischen

der teiltextierten
Musikkultur

Sequenzen',

1958-61,

i n Besseler

( B e r l i n , 1961).

' D a s G r a d u a l e v o n E d i g e r . E i n e neue Quelle der rheinischen A u g u s t i n e r l i t u r g i e ' , i n

F e l l e r e r Festschrift 1962, 2 2 4 - 3 4 .
' D i e Sequenz D u o tres. Z u r Geschichte der Sequenzen i n S t . G a l l e n u n d S t . M a r t i a l ' , i n
H a n d s c h i n G e d e n k s c h r i f t 1962, 6 6 - 7 2 .
' Z u r S t e l l u n g des M e B p r o p r i u m s der osterreichischen A u g u s t i n e r c h o r h e r r e n ' ,

Studien

zur Musikwissenschaft,
25 (1962) (Festschrift fiir E r i c h S c h e n k ) , 2 6 1 - 7 5 .
' S t u d i e n z u r geschichtlichen S t e l l u n g der L i t u r g i e K o p e n h a g e n s . D i e Oster- u n d
Pfingstalleluia der K o p e n h a g e n e r L i t u r g i e u n d ihre historischen Beziehungen',
Dansk
Aarbog for Musikforskning,
1962, 3 - 5 8 , and 1 9 6 4 - 5 , 3 - 6 2 .
' Z u r U b e r l i e f e r u n g der T h o m a s - O f f i z i e n ' , i n Smits van Waesberghe Festschrift 1963,
87-8.
' N o t r e - D a m e u n d S a i n t - V i c t o r . R e p e r t o i r e - S t u d i e n z u r G e s c h i c h t e der gereimten
Prosen', AcM 36 (1964), 9 8 - 1 2 3 , 1 9 1 - 2 2 1 .
' Z u r G e s c h i c h t e der M e B l i t u r g i e v o n Sitten u n d uber i h r e n Z u s a m m e n h a n g m i t d e n
L i t u r g i e n von E i n s i e d e l n , L a u s a n n e u n d G e n f ' , AfMw 22 (1965), 2 1 7 - 4 7 .
' D i e H a n d s c h r i f t R h e i n a u 71 der Zentralbibliothek Z u r i c h u n d die Frage nach E c h t h e i t
u n d E n t s t e h u n g der S t . G a l l e r Sequenzen u n d Notkerschen Prosen', AcM 38 (1966), 1 1 8 49.
' D a s Einsiedelner G r a d u a l - S a k r a m e n t a r St. Paul/Karnten 25.2.25 (Seine S t e l l u n g u n d
Bedeutung)', i n F e i c h t Festschrift 1967, 8 9 - 9 5 .
' H y m n u s u n d T r o p a r i o n . S t u d i e n z u r Geschichte der musikalischen G a t t u n g e n v o n
H o r o l o g i o n u n d T r o p o l o g i o n ' , Jahrbuch
des Staatlichen
Instituts fiir
Musikforschung,
Preufiischer Kulturbesitz
( B e r l i n , 1971), 7 - 8 6 .
' D a s Brevier der h i . K l a r a u n d seine Bedeutung i n der Geschichte des romischen
C h o r a l s ' , Studi musicali, 2 (1973), 2 1 7 - 3 3 .
' E i n Missale v o n A s s i s i : B a l t i m o r e , Walters A r t G a l l e r y W . 75', i n H u s c h e n Festschrift
1980, 2 5 5 - 6 2 .
' Z u r H e r k u n f t des " A n d e c h s e r M i s s a l e " C l m 3005', AfMw 37 (1980), 1 5 5 - 6 5 .
' N o t r e - D a m e - E p o c h e ' , MGG.
' S y r i a n C h u r c h M u s i c ' , NG.
see also R I S M B / V / l .
H U S M A N N Festschrift 1970 = H e i n z Becker and R e i n h a r d G e r l a c h (eds.), Speculum
rnusicae
artis: Festgabe fiir Heinrich Husmann zum 60. Geburtstag ( M u n i c h , 1970).
M U T T E R , J O S E F , Ceskd notace I. Neumy (Prague, 1926), II. Nota choralis (Prague, 1930).
Notationis Bohemicae antiquae specimina selecta e codicibus Bohemicis, L Neumae, 2.
Nota choralis (Prague, 1931).

Hymnarium
Oscense (s. XI), I. Edition facsimil.
II. Estudios,
ed. Antonio Duran, Ramon
M o r a g a s , J u a n V i l l a r e a l (Saragossa, 1987).
I R T E N K A U F , W O L F G A N G , ' D a s Seckauer C a n t i o n a r i u m v o m Jahre 1345 ( H s . G r a z 756)', AfMw
13 (1956), 1 1 6 - 4 1 .
' R e i m o f f i z i u m ' , MGG.
I S I D O R E , Etymologiamm
sive originum libri XX, e d . W . M . L i n d s a y ( O x f o r d , 1911).
Iter H e l v e t i c u m , e d . Pascal L a d n e r ( S p i c i l e g i i F r i b u r g e n s i s S u b s i d i a ; F r i b o u r g , 1 9 7 6 - ).
Iter H e l v e t i c u m 1 ( S F S 15, 1976) = Josef L e i s i b a c h , Die liturgischen Handschriften
der
Kantons- und Universitdtsbibliothek
Freiburg.
Iter H e l v e t i c u m 2 ( S F S 16, 1977) = Josef L e i s i b a c h , Die liturgischen

Handschriften

des

Kantons Freiburg (ohne

Kantonsbibliothek).
Iter H e l v e t i c u m 3 ( S F S 17, 1979) = Josef L e i s i b a c h , Die liturgischen

Handschriften

des

Kapitelsarchiv
in Sit ten.
Iter H e l v e t i c u m 4 ( S F S 18, 1984) = Josef L e i s i b a c h , Die liturgischen

Handschriften

des

Kantons Wallis (ohne Kapitelsarchiv

Sitten).
I V E R S E N , G U N I L L A (ed.), Research on Tropes ( S t o c k h o l m ,
see also C T .

1983).

J A C O B , A . , ' A propos de l'edition de l ' O r d i n a i r e de T o n g r e s ' , Revue d'histoire

65 (1970), 7 8 9 - 9 7 .
J A C O B S T H A L , G U S T A V , Die chrornatische Alteration im liturgischen Gesang der
Kirche ( B e r l i n , 1897).

ecclesiastique,
abendlandischen

J A K O B S , H E R M A N N , Die Hirsauer:
Ihre Ausbreitung
und Rechtsstellung
im Zeitalter
des
Investiturstreits
( K o l n e r historische A b h a n d l u n g e n , 4 ; C o l o g n e and G r a z , 1961).
J A M M E R S , E W A L D , ' D i e A n t i p h o n e n der rheinischen R e i m o f f i z i e n ' , EL 43 (1929), 1 9 9 - 2 1 9 ,
4 2 5 - 5 1 ; 44 (1930), 8 4 - 9 9 , 3 4 2 - 6 8 .
Das Karlsoffizium
Regali natus' ( S a m m l u n g musikwissenschaftlicher
14; S t r a s b u r g , 1934).
(

Abhandlungen,

Der gregorianischen
Rhythmus: Antiphonale
Studien ( S t r a s b u r g , 1937).
Die Essener Neumenhandschriften
der Landes- und Stadtbibliothek
Dusseldotf
(Ratingen,
1952).
' D i e palaofrankische N e u m e n s c h r i f t ' , Scriptorium,
7 (1953), 2 3 5 - 5 9 .
Musik in Byzanz, im pdpstlichen Rom und im Frankenreich:
Der Choral als Musik der Textaussprache ( A b h a n d l u n g e n der Heidelberger Akademie der Wissenschaften, Philosophischhistorische K l a s s e , 1962/1; H e i d e l b e r g , 1962).
'Einige A n m e r k u n g e n z u r Tonalitat des gregorianischen Gesanges', in Fellerer Festschrift
1962, 2 3 5 - 4 4 .
Tafeln zur Neumenkunde
( T u t z i n g , 1965).
' D e r C h o r a l als R e z i t a t i v ' , AfMw 22 (1965), 1 4 3 - 6 8 .
' A b e n d l a n d u n d B y z a n z , I I : K i r c h e n m u s i k ' , [1969] Reallexikon
Peter W i r t h .
Das Alleluia
in der Gregorianischen
F o r s c h u n g e n , 5 5 ; M u n s t e r , 1973).
' C a n t i o ' , MGG.
' C a n t i o ' , NG.

Messe

der Byzantinistik,

(Liturgiewissenschaftlichc

ed.

Quellen und

J A N , K . V O N (ed.), Musici scrip tores graeci, 2 vols. ( L e i p z i g , 1 8 9 5 - 9 ) .

J A N S O N , T O R E , Prose Rhythm in Medieval
IxLtin from the 9th to the 13th Century
L a t i n a S t o c k h o l m i e n s i a , 2 0 ; 1975).

(Studia

J E A N N E T E A U , J E A N , LOS modos gregorianos: Historiaandlisisestetica

( S t u d i a S i l e n s i a , 11;
A b a d i a de S i l o s , 1985).
J E F F E R Y , P E T E R , ' A n E a r l y C a n t a t o r i u m F r a g m e n t Related to M S . L a o n 239', Scriptorium,
36
(1982), 2 4 5 - 5 2 .
' T h e O l d e s t Sources of the Graduate:
A P r e l i m i n a r y C h e c k l i s t of M S S C o p i e d before
about 900', Journal of Musicology,
2 (1983), 3 1 6 - 2 1 .
' T h e I n t r o d u c t i o n of P s a l m o d y into the R o m a n M a s s by Pope Celestine I ( 4 2 2 - 4 3 2 ) :
R e i n t e r p r e t i n g a Passage i n the Liber
(1984), 1 4 7 - 5 5 .

Pontificalis\

Archiv

fur

26

Liturgiewissenschaft,

J E S S O N , R O Y , ' A m b r o s i a n C h a n t : T h e M u s i c of the M a s s ' ( D i s s . , I n d i a n a U n i v e r s i t y , 1955;

UMI
00-12833).
' A m b r o s i a n C h a n t ' , i n A p e l 1958, 4 6 5 - 8 3 .
J O H N E R , D O M I N I C U S , Wort und Ton im Choral: Ein Beit rag zur Aesthetik des
Gesanges ( 2 n d e d n . , L e i p z i g , 1953).
J O H N E R Festschrift 1950 = F r a n z T a c k ( e d . ) , Der kultische Gesang der

gregorianischen
abendldndischen

Kirche ( C o l o g n e , 1950).
J O H N S T O N E , J O H N G . , ' B e y o n d a C h a n t : " T u i sunt caeli" a n d its T r o p e s ' , Studies
History^ of Music, 1: Music and Language
( N e w Y o r k , 1983), 2 4 - 3 7 .
J O N E S , C H A R L E S W . , The Saint Nicholas Liturgy and its Literary Relationships

in the

(Berkeley,

1963).
J O N E S ( C H A R L E S ) Festschrift 1979 = M a r g o t I I . K i n g a n d Wesley M . Stevens (eds.), Saints,
Scholars, and Heroes: Studies in Medieval
Culture in Honor of Charles W. Jones, 2 v o l s .
( C o l l e g e v i l l e , M i n n . , 1979).
JONES,

CHESLYN,

Liturgy
JONSSON,

WAINWRIGHT,

( L o n d o n , 1978).
R I T V A , Historia:

GEOFFREY,

Etudes

S t o c k h o l m i e n s i a , 15; 1968).
' C o r p u s T r o p o r u m ' , JPMMS

sur

la

and

YARNOLD,

genese

des

EDWARD

offices

(eds.),

versifies

The

Study

(Studia

of

Latina

1 (1978), 9 8 - 1 1 5 .

and T R E I T L E R , L E O , ' M e d i e v a l M u s i c a n d L a n g u a g e : A R e c o n s i d e r a t i o n of the

R e l a t i o n s h i p ' , Studies in the History of Music, J: Music and Language
( N e w Y o r k , 1983),
1-23.
see also C T .
J O U N E L , P I E R R E , Le Culte des saints dans les basiliques du Latran et du Vatican au douzieme
siecle ( R o m e , 1977).
J U N G M A N N , J O S E F A . , Missarum sollemnia: Einegenetische
Erkldrung der rbmischen Messe, 2
vols. ( V i e n n a , 1948; 5th e d n . , 1962, 6th e d n . , 1966); trans. F r a n c i s A . B r u n n e r f r o m 2 n d
edn., 1951: The Mass of the Roman Rite, 2 vols. ( N e w Y o r k , 1951, 1955); a b r i d g e d version
by C h a r l e s K . Riepe, 1 v o l . ( N e w Y o r k , 1959).
Liturgisches
Erbe und pastorale Gegenwart:
trans.: Pastoral Liturgy ( L o n d o n , 1962).

Studien

und Vortrdge

(Innsbruck,

1960);

J U N G M A N N Festschrift 1959 = Balthasar F i s c h e r a n d J . W a g n e r (eds.), Paschatis

sollemnia:
Studien zu Osterfeier und Osterfrommigkeit.
Eestschrift J. A. Jungmann
(Basel, 1959).
K A H M E R , I N G E , Die Offertoriums-Uberlieferung
in Rom Vat. lat. 5319 ( D i s s . , U n i v e r s i t y of
C o l o g n e , 1971).
K A I N Z B A U E R , X A V E R , ' D e r T r a c t u s T e t r a r d u s : E i n e centologische
(1991), 1 - 1 3 2 .

U n t e r s u c h u n g ' , BzG

11

K A N T O R O W I C Z , E R N S T H . , Laudes regiae: A Study in Liturgical Acclamations

and
Mediaeval
Ruler Worship. With a Study of the Music of the Laudes and Musical Transcriptions
by
M a n f r e d F . B u k o f z e r (Berkeley and L o s Angeles, 1946).
K A R N O W K A , G . - H . , Breviarium
Passaviense:
Das Passauer Brevier im Mittelalter
und die
Breviere
der altbayrischen
Kirchenprovinz
( M u n c h e n e r T h e o l o g i s c h e S t u d i e n , 11/44;
St. O t t i l i e n , 1983).
Karolingisches
Sakramentar:
Codex Vindobonensis 958 (Codices selecti, 2 5 ; G r a z , 1971).
K E I L , H E I N R I C H , Grammatici
Ia tint, 8 vols. ( L e i p z i g , 1 8 5 7 - 8 0 ) .
K E L L Y , T H O M A S F O R R E S T , ' M e l o d i c E l a b o r a t i o n i n Responsory M e l i s m a s ' , JAMS 27 (1974),
461-74.
'New

M u s i c f r o m O l d : T h e S t r u c t u r i n g of Responsory Proses', JAMS

30 (1977), 3 6 6 -

90.
' I n t r o d u c i n g the Gloria in excelsis, JAMS 37 (1984), 4 7 9 - 5 0 6 .
' M e l i s m a a n d P r o s u l a : T h e Performance of Responsory T r o p e s ' , i n S i l a g i 1985, 1 6 3 - 8 0 .
' M o n t e c a s s i n o a n d O l d Beneventan C h a n t ' , EMH 5 (1985), 5 3 - 8 3 .
'Beneventan a n d M i l a n e s e C h a n t ' , Journal of the Royal Musical Association,
112 (1987),
173-95.
' N e u m a t r i p l e x ' , AcM 60 (1988), 1 - 3 0 .
The Beneventan
Chant ( C a m b r i d g e , 1989).
K E N N E D Y , V . L . , ' F o r a N e w E d i t i o n of the Micrologus of B e r n o l d of Constance', i n A n d r i e u
Festschrift 1956, 2 2 9 - 4 1 .
K E R , N E I L R . , Medieval
Libraries of Great Britain:
A List of Surviving
Books ( 2 n d e d n . ,
L o n d o n , 1964); s u p p l e m e n t e d . A n d r e w G . W a t s o n ( L o n d o n , 1987).
K I E N L E , A M B R O S I U S , ' N o t i z e n (iber das D i r i g i e r e n mittelalterlicher Gesangschore',

Viertel-

jahrsschrift fur Musikwissenschaft,

1 (1885), 1 5 8 - 6 9 .
K I N G , A L E C H Y A T T , Four Hundred Years of Music Printing ( L o n d o n , 1964; 2 n d e d n . , 1968).
K I N G , A R C H D A L E A . , The Rites of Eastern Christendom ( R o m e , 1 9 4 7 - 8 ) .
Liturgies of the Religious Orders ( M i l w a u k e e , W i s e , 1955, L o n d o n , 1956).
Liturgies of the Primatial Sees ( M i l w a u k e e , W i s e , and L o n d o n , 1957).
Liturgy of the Roman Church ( M i l w a u k e e , W i s e , and L o n d o n , 1957).
Liturgies of the Past ( M i l w a u k e e , W i s e , and L o n d o n , 1959).
K L A U S E R , T H E O D O R , ' E i n e Stationsliste der M e t z e r K i r c h e aus d e m 8. J h d . w a h r s c h e i n l i c h ein
W e r k C h r o d e g a n g s ' , EL 44 (1930), 1 6 2 - 9 3 .
' D i e l i t u r g i s c h e n Austauschbeziehungen zwischen der r o m i s c h e n u n d der f r a n k i s c h deutschen K i r c h e v o m achten bis z u m elften Jahrhundert', Historisches
Jahrbuch
der
Gorres-Gesellschaft,
53 (1933), 1 6 9 - 8 9 .
Das rbmische Capitulare
Evangeliorum,
i : Typen (Liturgiewissenschaftliche Q u e l l e n
und F o r s c h u n g e n , 2 8 ; M u n s t e r , 1935).
' D e r U b e r g a n g der r o m i s c h e n K i r c h e v o n der griechischen z u r lateinischen L i t u r g i e sprache', i n Miscellanea
G. Mercati ( S t u d i e testi, 121; R o m e , 1946), 4 6 7 - 8 2 .
Kleine abendlandische
Liturgie geschichte ( B o n n , 1965); t r a n s . : A Short History of the
Western Liturgy ( L o n d o n , 1969).
K L O C K N E R , S T E F A N , ' A n a l y t i s c h e U n t e r s u c h u n g e n an 16 Introiten i m I. T o n des a l t r o m i s c h e n
und des frankisch-gregorianischen Repertoires h i n s i c h t l i c h einer bewuBten melodischen
A b h a n g i g k e i t ' , BzG 5 (1988), 3 - 9 5 .
K N O W L E S , D A V I D , The Monastic Constitutions of Lanfranc
( L o n d o n , 1951).
The Monastic Order in England ( C a m b r i d g e , 1940; 2 n d e d n . , 1963).

Christian

Monasticism

( N e w Y o r k , 1969).

K O H R S , K L A U S H E I N R I C H , Die aparallelen
Sequenzen:
Repertoire,
liturgische
Ordnung,
musikalischer
Stil (Beitrage z u r M u s i k f o r s c h u n g , 6; S a l z b u r g , 1978).
K O N R A D , K A R E L , Geschichte des alttschechischen
Kirchengesanges
(Prague, 1881).
K O W A L E W I C Z , H . , Cantica medii aevipolono-latina,
i : Sequentiae ( B i b l i o t h e c a latina m e d i i et
recentioris aevi, 15; W a r s a w , 1964).
K R A M E R , S I G R I D , Handschriftenerbe
des deutschen Mittelalters
(Mittelalterliche Bibliothekskataloge D e u t s c h l a n d s u n d der S c h w e i z , 5 ( E r g a n z u n g s b a n d ) , 1. A a c h e n - K o c h e l , 2 .
K o l n - Z y f f l i c h ; M u n i c h , 1989).
K R I E G , E D U A R D , Das lateinische
Osterspiel von Tours ( W i i r z b u r g , 1956).
K R O O N , S I G U R D , Ordinarium
missae ( L u n d s universitets arsskrift, N S , sect. 1, v o l . 39, n o . 6;
L u n d , 1953).
K U R Z E J A , A D A L B E R T , Der dlteste Liber Ordinarius der Trierer Domkirche:
London,
Brit.
Mus., Harley 2958, Anfang 14. jfh. (Liturgiewissenschaftliche Q u e l l e n u n d F o r s c h u n g e n ,
5 2 ; M u n s t e r , 1970).
Kyriale seu ordinarium missae ( R o m e , 1905).
L A B H A R D T , F R A N K , Das Sequentiar
Cod. 546 der Stiftsbibliothek
von St. Gallen und seine
Quellen ( P u b l i k a t i o n e n der Schweizerischen M u s i k f o r s c h e n d e n Gesellschaft, S e r . 2, 8; 2
v o l s . , Berne, 1959, 1963).
L A F A G E , A D R I E N D E , Essais de diphtherographie
musicale ou notices, descriptions,
analyses,
ex traits et reproductions de manuscrits relatifs a la pratique, a la theorie et a Vhistorie de la
musique, 2 vols. (Paris, 1864) [includes edition of Paris 7211].
L A I S T N E R , M A X L U D W I G W . , Thought and Letters in Western Europe A.D. 500-900 ( L o n d o n ,
1931).
L A M B I L O T T E , L O U I S , Antiphonaire
de saint Gregoire: facsimile
du manuscrit de
Saint-Gall
(Brussels, 1851, 2/1867).
L A M B R E S , B E N O I T , ' L e C h a n t des C h a r t r e u x ' , Revue beige de musicologie,
24 (1970), 1 7 - 4 2 .
' L ' A n t i p h o n a i r e des C h a r t r e u x ' , EG 14 (1973), 2 1 3 - 1 8 .
L A M O T H E , D O N A T R . , and C O N S T A N T I N E , C Y P R I A N G . (eds.), Matins

at Cluny for

the Least

of

St. Peter's Chains ( L o n d o n , 1986).

L A N D W E H R - M E L N I C K I , M A R G A R E T H A , Das einstimmige Kyrie des lateinischen
Mittelalters
( R e g e n s b u r g , 1955).
see also M M M A and M e l n i c k i .
L A U M , B E R N H A R D , Das alexandrinische
Akzentuationssystem
unter Zugrundelegung
der
theoretischen Lehren der Grammatiker
und mit Heranziehung
der praktischen
Verwendung
in den Papyri ( S t u d i e n z u r Geschichte u n d K u l t u r des A l t e r t u m s , 4. E r g a n z u n g s b a n d ;
P a d e r b o r n , 1928).
L A U N A Y , D E N I S E , ' U n esprit critique au temps de J u m i l h a c : D o m Jacques L e C l e r c ,
b e n e d i c t i n de la C o n g r e g a t i o n de S a i n t - M a u r ' , EG 19 (1980), 1 9 7 - 2 1 9 .
L A W L E Y , S T E P H E N W . (ed.), Breviarium
ad usum insignis ecclesiae Eboracensis
(Surtees
Society, 71, 7 5 ; L o n d o n , 1880, 1883).
L E C H N E R , J O S E P H , and E I S E N H O F E R , L U D W I G , Liturgik des romischen Ritus ( F r e i b u r g , 1953);
t r a n s . : The Liturgy of the Roman Rite ( F r e i b u r g and E d i n b u r g h , 1961).
L E C L E R C Q , H E N R I , arts. ' G a l l i c a n e (liturgie)', ' L i t u r g i e s neo-gallicanes',
DACL.
L E C L E R C Q , J E A N , L'Amour des lettres et le desir de Dieu: Initiation aux auteurs
monastiques
du moyen age (Paris, 1957); trans. Catharine M i s r a h i : The Love of Learning and the Desire
for God ( N e w Y o r k , 1961; 2 n d e d n . , 1974).

L E D W O N , J A C O B C A R L , ' T h e W i n t e r Office of S a n t ' E u t i z i o d i N o r c i a : A S t u d y of the C o n t e n t s

and C o n s t r u c t i o n of Biblioteca V a l l i c e l l i a n a M a n u s c r i p t s C 13 and C 5' ( D i s s . , State
U n i v e r s i t y of N e w Y o r k at B u f f a l o , 1986; U M I 8 6 - 1 9 3 3 9 ) .
L E E B , H E L M U T , Die Psalmodie bei Ambrosius (Wiener Beitrage z u r T h e o l o g i e , 17; V i e n n a ,
1967).
Die Gesdnge im Gemeindegottesdienst
von Jerusalem
(vom 5. bis 8.
Jahrhundert)
( W i e n e r Beitrage z u r T h e o l o g i e , 28; V i e n n a , 1979).
L E F ^ V R E , P L A C I D E F . , ' L a N o u v e l l e E d i t i o n d u Processionale Praemonstratense de 1932',
Analecta

praemonstratensia,

9 (1933), 1 7 0 - 5 .

' L e N o u v e l A n t i p h o n a i r e de Premontre', Analecta praemonstratensia,

13 (1937), 6 3 - 9 .
L'Ordinaire
de Premontre
d'apres des manuscrits
du XIP
et du XIIP
siecle
( B i b l i o t h e q u e de la ' R e v u e d'histoire ecclesiastique', 2 2 ; L o u v a i n , 1941).
Coutumiers liturgiques de Premontre du XIIP et du XIV siecles ( B i b l i o t h e q u e de la
' R e v u e d'histoire ecclesiastique', 27; L o u v a i n , 1953).
La Liturgie
de Premontre:
Histoire, formulaire,

(Bibliotheca

chant

et

ceremonial

analectorum praemonstratensium, 1; L o u v a i n , 1957).

Les Ordinaires
des collegiales Saint-Pierre
a Louvain

et

Saints-Pierre-et-Paul

Anderlecht
d'apres des manuscrits du XIV siecle ( B i b l i o t h e q u e de la ' R e v u e d'histoire
ecclesiastique', 36; L o u v a i n , 1960).
L'Ordinaire
de la collegiate autrefois cathedrale de Tongres, d'apres un manuscrit
du
XV

siecle ( S p i c i l e g i u m sacrum Lovaniense, Etudes et documents, 345; L o u v a i n , 1 9 6 7 - 8 ) .

' L ' A n t i p h o n a l e psalterii d'apres le rite de Premontre', Analecta praemonstratensia,
44

(1968), 2 4 7 - 7 4 .
' L e s Repons prolixes aux heures diurnes d u T r i d u u m sacrum dans la liturgie canoniale',
Analecta praemonstratensia,
48 (1972), 5 - 1 9 .
L E F F E R T S , P E T E R M . , ' C a n t i l e n a and A n t i p h o n : M u s i c for M a r i a n Services i n L a t e M e d i e v a l
E n g l a n d ' , i n Sanders Festschrift 1990, 2 4 7 - 8 2 .
L E G G , J O H N W I C K H A M , Missale ad usum ecclesiae Wertmonasteriensis
( H e n r y Bradshaw
Society, 1; L o n d o n , 1891; 5 (1893); and 12 (1897).
The Processional of the Nuns of Chester ( H e n r y Bradshaw Society, 18; L o n d o n , 1899).
77?^ Sarum Missal Edited from Three Early Manuscripts
( O x f o r d , 1916).
L E H O L L A D A Y , R I C H A R D , ' T h e M u s i c a E n c h i r i a d i s and Scholia E n c h i r i a d i s : A T r a n s l a t i o n
and C o m m e n t a r y ' ( D i s s . , O h i o State U n i v e r s i t y , 1977).
L E J A Y , P A U L , ' A m b r o s i e n (rit)',
DACL.
L E M A R I E , J . , ' L e s A n t i e n n e s " V e t e r e m h o m i n e m " d u jour Octave de l ' E p i p h a n i e et les
antiennes d'origine grecque de l ' E p i p h a n i e ' , EL 72 (1958), 3 - 3 8 .
Le Breviaire
de Ripoll: Paris B. N. lat. 742 (Scripta et documenta, 14; M o n t s e r r a t ,
1965).
L E O N T E L L O , F R A N C I S C O J O S , Estudios de historia de la teoria musical ( M a d r i d , 1962).
L E O N A R D I , C L A U D I O , and M E N E S T O , E N R I C O (eds.), IM tradizione dei tropi liturgici (Spoleto,
1990).
L E R O Q U A I S , V I C T O R , les Sacramental
de France, 3 vols. (Paris, 1924).

res et les missels manuscrits

des bibliotheques

publiques

Les Breviaires manuscrits des bibliotheques publiques de France, 5 v o l s . (Paris, 1934).

Le Breviaire-missel
du prieure clunisien de Lewes (Paris, 1935).
Les Pontificaux manuscrits des bibliotheques publiques de France, 3 v o l s . (Paris, 1937).

LEROQUAIS,

V I C T O R , Les Psautiers

manuscrits

latins

des bibliotheques

2 vols.

de France,

(Macon, 1940-1).
L E R O U X , M A R Y P R O T H A S E , ' T h e " D e harmonica institutione" and " T o n a r i u s " of Regino of
P r u m ' ( D i s s . , C a t h o l i c U n i v e r s i t y of A m e r i c a , 1965; U M I 6 6 - 0 0 3 1 8 ) .
L E R O U X , R A Y M O N D , ' A U X origines de l'office festif: L e s antiennes et les psaumes de M a t i n e s
et de L a u d e s p o u r N o e l et le l

Janvier', EG 4 (1961), 6 5 - 1 7 0 .

' L e s G r a d u e l s des d i m a n c h e s apres la Pentecote', EG 5 (1962), 1 1 9 - 3 0 .

' L e s R e p o n s de Psalmis p o u r le M a t i n e s de l ' E p i p h a n i e a la Septuagesime', EG 6 (1963),
39-148.
' G u i l l a u m e de V o l p i a n o . S o n cursus l i t u r g i q u e au M o n t - S a i n t - M i c h e l et dans les abbayes
n o r m a n d e s ' , Millenaire

monastique

1 (Paris, 1967), 4 1 7 - 7 2 .

du Mont-Saint-Michel,

' R e p o n s d u T r i d u o sacro et de Paques', EG 18 (1979), 1 5 7 - 7 6 .

LEVY,

K E N N E T H J . , ' T h e B y z a n t i n e Sanctus and its M o d a l T r a d i t i o n i n East a n d West',

Annates

musicologiques,

6 (1958-63), 7-67.

' T h e Italian N e o p h y t e s ' C h a n t s ' , JAMS

'"Lux

23 (1970), 1 8 1 - 2 2 7 .

de l u c e " : T h e O r i g i n of an Italian Sequence', MO 57 (1971), 4 0 - 6 1 .

' T h e T r i s a g i o n i n B y z a n t i u m a n d the West', i n Congress C o p e n h a g e n 1972, 7 6 1 - 5 .

' A G r e g o r i a n Processional A n t i p h o n ' , Schweizer

Jahrbuch

NS,2

fiir Musikwissenschaft,

(1982), 9 1 - 1 0 2 .
' T o l e d o , R o m e and the L e g a c y of G a u l ' , EMH 4 (1984), 4 9 - 9 9 .
' O l d - H i s p a n i c C h a n t i n its E u r o p e a n Context', i n Congress Salamanca 1985, i . 3 - 1 4 .
' C h a r l e m a g n e ' s A r c h e t y p e of G r e g o r i a n C h a n t ' , JAMS
'On

40 (1987), 1 - 3 0 .

the O r i g i n of N e u m e s ' , EMH 7 (1987), 5 9 - 9 0 .

arts. ' B y z a n t i n e R i t e , M u s i c of the', ' R a v e n n a R i t e , M u s i c of the', ' T r i s a g i o n ' , NG.

and E M E R S O N , J O H N , 'Plainchant',

Libergradualis
Liber hymnarius

cum invitatoriis

Liber

juxta

vesperalis

NG.

( T o u r n a i , 1883; 2 n d e d n . , 1895).
ritum

& aliquibus

sanctae

(Solesmes, 1982).

responsoriis

ecclesiae

[ed. G . M . Sufiol]

Mediolanensis

(Rome,

1939).
L I C K L E D E R , C H R I S T O P H , Choral
anhand

der

Regensburg,

Fliegenden

und figurierte Kirchenmusik

Blatter

und

der

Musica

in der Sicht Franz

Sacra

(Documenta

Xaver

Witts

Caeciliana,

3;

1988).

L I P P H A R D T , W A L T E R , ' S t u d i e n z u r R h y t h m i k der A n t i p h o n e n ' , Mf3

' D a s M o o s b u r g e r Cantionale',^7a/zr6wc/z fiir Liturgik

(1950), 4 7 - 6 0 , 2 2 4 - 3 4 .

und Hymnologie,

3 (1957), 1 1 3 - 1 7 .

' D a s H e r o d e s s p i e l v o n L e M a n s nach den H a n d s c h r i f t e n M a d r i d , B i b l . N a c . 288 u n d 289

(11. u n d 12. J h d . ) ' , i n S m i t s v a n Waesberghe Festschrift 1963, 1 0 7 - 2 2 .
Der karolingische

Tonar von Metz (Liturgiewissenschaftliche Q u e l l e n u n d F o r s c h u n g e n ,

4 3 ; M u n s t e r - W e s t f a l e n , 1965).
Ixiteinische
'Mensurale

Osterfeiem

und Osterspiele,

Hymnenaufzeichnungen

6 vols. ( B e r l i n , 1 9 7 5 - 8 1 ) .
i n einem

H y m n a r des 15. Jahrhunderts

aus

St. Peter, S a l z b u r g ( M i c h a e l b e u e r n M s . C a r t . 1)', i n C a r d i n e Festschrift 1980, 4 5 8 - 8 7 .

'Liturgische Dramen',

MGG.

L L O Y D , R I C H A R D W I N G A T E , ' C l u n y E p i g r a p h y ' , Speculum,

1 (1932), 3 3 6 - 4 9 .

LOEW,

of the South

E L I A S A V E R Y , The Beneventan

Script:

A History

Italian

S e c o n d e d i t i o n prepared a n d enlarged b y V i r g i n i a B r o w n , 2 vols. ( R o m e , 1980).

L O H R , I . , Solmisation

undKirchentonarten

(Basel, 1943).

Minuscule.

LORIQUET,

cathedrale
lat. 9 0 4 ] .
LOT,

HENRI,

P O T H I E R , J O S E P H , and C O L E T T E ,

de Rouen auXIIP

ARMAND

K . , I^e Graduel

de

Veglise

siecle, 2 vols. ( R o u e n , 1907) [Paris, B i b l i o t h e q u e N a t i o n a l e ,

F E R D I N A N D (ed.), Hariulf:

Chronique

de VAbbaye

de Saint-Riquier

(V

siecle-1104)

( C o l l e c t i o n de T e x t e s ; Paris, 1894).
L O W E , E L I A S A V E R Y [ = L o e w ] , ' T w o N e w L a t i n L i t u r g i c a l F r a g m e n t s o n M o u n t S i n a i ' , RB
74 (1964), 2 5 2 - 8 3 .
L U N D N , T . , Den heliga Birgitta och den helige Petrus av Skdnninge: Officium parvum
Marie Virgi?iis [The Lady-offices of St Bridget and the Venerable Peter of Skdnninge]
universitatis Upsaliensis, S t u d i a historico-ecclesiastica U p s a l i e n s i a , 2 7 ; 1976).
L U T O L F , M A X (ed.), Das Graduate
( C o l o g n e - G e n e v a , 1987).

von Santa

Cecilia in Trastevere

beate
(Acta

(Cod. Bodmer 74), 2 v o l s .

L U T Z , C O R A E.,Joannis
Scotti Annotationes in Marcianus
( C a m b r i d g e , M a s s . , 1939).
' R e m i g i u s ' Ideas o n the Classification of the Seven L i b e r a l A r t s ' , Traditio, 12 (1956), 6 5 86.
' T h e C o m m e n t a r y of R e m i g i u s of A u x e r r e o n M a r t i a n u s C a p e l l a ' , Medieval
(1957), 1 3 8 - 5 6 .
(ed.), Remigii Autissiodorensis

commentum

in Martianum

Capellam,

Studies,

19

2 vols. ( L e i d e n ,

1962-5).
Schoolmasters of the Tenth Century ( H a m d e n , C o n n . , 1977).
M a a s see R I S M B/III/1.
M C A R T H U R , A . A . , The Evolution of the Christian Year ( L o n d o n , 1953).
M C C A R T H Y , M . C , The Rule for Nuns of St. Caesarius of Aries: A Translation with a Critical
Introduction
( T h e C a t h o l i c U n i v e r s i t y of A m e r i c a Studies i n M e d i e v a l H i s t o r y , N S , 16;
W a s h i n g t o n , D C , 1960).
M C G E E , T I M O T H Y J . , ' T h e L i t u r g i c a l Placements of the Quern quaeritis

D i a l o g u e ' , JAMS

29

(1976), 1 - 2 9 .
M A C H A B E Y , A R M A N D , Genese de la tonalite musicale classique des ofigines au XV siecle
( P a n s , 1955).
M A C I E J E W S K I , T . , 'Graduate C h e l m n a [ T h e C h e l m n o G r a d u a l ] ' , Musica medii aevi, 4 (1973),
164-245.
M C K I N N O N , J A M E S W . , ' T h e M e a n i n g of the Patristic Polemic against M u s i c a l Instruments',
Current Musicology, 1 (1965), 6 9 - 8 2 .
' T h e T e n t h C e n t u r y O r g a n at Winchester', The Organ Yearbook, 5 (1974), 4 - 1 9 .
' T h e Fifteen T e m p l e Steps and the G r a d u a l Psalms', Imago rnusicae, 1 (1984), 2 9 - 4 9 .
' O n the Q u e s t i o n of Psalmody i n the A n c i e n t Synagogue', EMH 6 (1986), 1 5 9 - 9 1 .
' T h e F o u r t h - C e n t u r y O r i g i n of the G r a d u a l ' , EMH 7 (1987), 9 1 - 1 0 6 .
Music in Early Christian Literature ( C a m b r i d g e , 1987).
' T h e Patristic J u b i l u s and the A l l e l u i a of the M a s s ' , i n C a n t u s P l a n u s 1990, 6 1 - 7 0 .
M C K I T T E R I C K , R O S A M U N D , The Frankish
Church and the Carolingian
Reforms,
789-895
( L o n d o n , 1977).
J

The Frankish Kingdoms under the Carolingians,

751-987 ( L o n d o n , 1983).
M C R O B E R T S , D A V I D , ' S o m e 16th-Century Scottish Breviaries a n d their Place i n the H i s t o r y of
the Scottish L i t u r g y ' , The bines Reviezv, 3 (1952), 3 3 - 4 8 .
'Catalogue of Scottish M e d i e v a l L i t u r g i c a l Books and Fragments', The Innes Review, 3
(1952), 4 9 - 6 3 (published separately, G l a s g o w , 1953).

' T h e M e d i e v a l Scottish L i t u r g y Illustrated b y S u r v i v i n g D o c u m e n t s ' , Transactions

of
the Scottish Ecclesiological
Society, 15 (1957), 2 2 - 4 0 .
M A C R O B I U S , Commentarius
in Somnium
Scipionis,
e d . James W i l l i s ( L e i p z i g , 1970);
Commentary
on the Dream of Scipio, trans. W i l l i a m H a r r i s Stahl ( N e w Y o r k , 1952).
M A D R I G N A C , A N D R , ' L e s F o r m u l e s centons des A l l e l u i a anciens', EG 20 (1981), 3 - 4 ; 21
(1986), 2 7 - 4 5 .
M A G I S T R E T T I , M A R C O (ed.), Beroldus sive ecclesiae Ambrosianae
et ordines saec. xii ( M i l a n , 1894).
(ed.)', Manuale
Ambrosianum
ex codice saec. xi olim
Travaliae,
2 v o l s . ( M i l a n , 1904, 1905).
MALLET,

JEAN,

and T H I B A U T ,

ANDR,

Les

Manuscrits

en

Mediolanensis
in usum
ecriture

kalendarium

canonicae

beneventaine

Bibliotheque
capitulaire
de Benevent, i : Manuscrits 1-18 (Paris, 1984).
M A N I T I U S , M A X I M I L I A N U S , Geschichte
der lateinischen
Literatur des Mittelalters,
( H a n d b i i c h e r der klassischen A l t e r t u m s w i s s e n s c h a f t ; M u n i c h , 1 9 1 1 - 3 1 ) .
M A N S I , G I O V A N N I D O M E N I C O , Sacrorum conciliorum nova et amplissima collectio,

Vallis
de

la

3 vols.
31 v o l s .

( F l o r e n c e a n d V e n i c e , 1 7 5 7 - 9 8 ) ; 53 vols. (Paris, L e i p z i g , and A r n h e i m , 1 9 0 1 - 2 7 ) .

M a r c u s s o n see C T .
M A R K O V I T S , M . , Das Tonsystem der abendlandischen
Musik im friihen Mittelalter ( P u b l i k a tionen der S c h w e i z e r i s c h e n M u s i k f o r s c h e n d e n Gesellschaft, ser. 2, 3 0 ; Berne, 1977).
M A R O S S Z E K I , S O L U T O R R O D O L P H E , Les Origins du chant cistercien:
Recherches sur les
reformes du plain-chant
cistercien au KIT siecle (Analecta Sacri O r d i n i s Cisterciensis, 8 ;
R o m e , 1952).
M A R T ^ N E , E D M O N D , De antiquis ecclesiae ritibus, 3 vols. ( R o u e n , 1 7 0 0 - 2 ) .
M A R T I A N U S C A P E L L A , De nuptiis Philologiae et Mercurii,
e d . James W i l l i s ( L e i p z i g , 1983);
The Marriage of Philology and Mercury: Martianus Capella, trans. W i l l i a m H a r r i s S t a h l
( N e w Y o r k , 1977).
M A R T I M O R T , A I M - G E O R G E S (ed.), LEglise enpriere: Introduction a la liturgie (Paris, 1961;
3rd e d n . , 1965); first t w o of the four parts t r a n s . : The Church at Prayer: Introduction to the
Liturgy ( N e w Y o r k , 1968) a n d The Church at Prayer: The Eucharist ( N e w Y o r k , 1973).
' O r i g i n e et signification de l'alleluia de la messe romaine', i n Quasten Festschrift 1970,
811-34.
(ed.), UEglise en priere, edition nouvelle,
4 vols. (Paris, 1983), trans. M a t t h e w J .
O ' C o n n e l l : The Church at Prayer, New Edition, 4 vols. (Collegeville, M i n n . , and L o n d o n ,
1987, 1987, 1988, a n d 1986).
' A propos d u n o m b r e des lectures a la messe', Revue des sciences religieuses,
58
(1984), 4 2 - 5 1 .
M A R X E R , O T T O , Zur spdtmittelalterlichen
Choralgeschichte
St. Gallens: Der Codex 546 der
St. Gutter Stiftsbibliothek
( V G A 3 ; S t . G a l l e n , 1908).
M A S , J O S I A N E , ' L a N o t a t i o n catalane', Revista de musicologia,
11 (1988), 1 1 - 3 0 .
M A T H i A S , R . X . , Die Tonarien ( D i s s . , G r a z , 1903).
M E I E R , B E R N H A R D , ' M o d a l e K o r r e k t u r u n d W o r t a u s d e u t u n g i m C h o r a l der E d i t i o M e d i c a e a ' ,
Kmjb 53 (1969), 1 0 1 - 3 2 .
MELNICKI,

M A R G A R E T A , and S T A B L E I N , B R U N O , 'Graduale (Buch)',

MGG.

see also M M M A and L a n d w e h r - M e l n i c k i .

M E N A G E R , A R M A N D , ' A p e r g u sur la notation d u manuscrit 239 de L a o n . S a concordance avec
les codices r y t h m i q u e s sangalliens', P a l M u s 10, 1 7 7 - 2 1 1 .
' E t u d e sur la notation d u manuscrit 47 de Chartres', P a l M u s 11, 4 1 - 1 3 1 .

MERCENIER,

F . , ' L a Plus A n c i e n n e Priere a la Vierge " S u b t u u m p r a e s i d i u m ' " ,

Questions

liturgiques et paroissiales,
25 (1940), 33.
M E R L E T T E , B . , 'Ecoles et bibliotheques a L a o n d u declin de l'antiquite au developpement de
l'universite', Enseignement et vie intellectuelle, Actes du 95 Congres des Societes
Savantes
(Paris, 1975), i . 2 1 - 5 3 .
M E R R I T T Festschrift = Laurence Berman (ed.), Words and Music: The Scholar's Vieic. A
e

Medley

of Problems

and

Solutions

Compiled

Hands ( C a m b r i d g e , M a s s . , 1972).
M E T T E N L E I T E R , D O M I N I C U S , Musikgeschichte
M e y e r , C h r i s t i a n see R I S M B/III/3.

in Honor of A. Tillman
der Stadt Regensburg

Merritt

(Regensburg,

M E Y E R , K A T H I , ' T h e E i g h t G r e g o r i a n M o d e s o n the C l u n y C a p i t a l s ' , Art Bulletin,

75-94.

by

Sundry
1865).

34 (1952),

M G H (Antiquitates) Poetae Ixitini aevi Carolini, i , e d . E r n s t D u m m l e r (1881).

M G H (Antiquitates) Poetae Latini aevi Carolini, iv/1, e d . Paul v o n W i n t e r f e l d (1899).
M G H (Epistolae) Epistolae Karolini aevi, i i , e d . Ernst D u m m l e r (1895).
MGH
(Epistolae) Epistolae
Karolini aevi, i i i , e d . Ernst D u m m l e r , K a r l H a m p e , et
(1898-9).
MGH
MGH

(Leges) Capitularia
regum Francorum,
i , e d . A l f r e d Boretius (1883).
(Leges) Concilia aevi Karolini, ill, e d . A l b e r t W e r m i n g h o f f (1906).

MGH
MGH

(Scriptores) Annates et chronica aevi Salici,

(Scriptores) Die Chronik von Montecassino

e d . G e o r g H e i n r i c h Pertz (1844).
(Chronica
monasterii
Casinensis),

H a r t m u t H o f f m a n n (1980).
M G H (Scriptores) Liber Pontificalis,
i , e d . T h e o d o r M o m m s e n (1898).
M G H (Scriptores) Passiones vitaeque sanctorum aevi Merovingici et antiquiorum

aliquot,

al.

ed.

i,

ed. B r u n o K r u s c h (1896).
MGH
(Scriptores) Scriptores
return Sangallensium:
Annates, chronica et historiae
aevi
Carolini, e d . G e o r g H e i n r i c h Pertz (1829).
M I A Z G A , T A D E U S Z , Die Melodien des einstimmigen Credo der rdmisch-katholischen
lateinischen
Kirche: Eine Untersuchung
der Melodien in den handschriftlichen
Ubeiiieferungen
mit
besonderer Berucksichtigung
der polnischen Handschriften
( G r a z , 1976).
Pontyfikaty Polskie ( G r a z , 1981).
M I L L E R , J O H N H . , Fundamentals
of the Liturgy ( N o t r e D a m e , I n d . , 1959).
' L i t u r g y ' , NCE.
M I L V E D E N , I N G M A R , ' M a n u s k r i p t , M o n c h u n d M o n d . E i n H a u p t t e i l des C o d . U p s a l . C 23 i n
quellenkritischer Beleuchtung', Svensk tidskrift for musikforskning,
46 (1964), 9.
' N e u e F u n d e z u r B r y n o l p h u s - K r i t i k ' , Svensk tidskrift for musikforskning,
54 (1972), 5 51.
Missale notatum Strigoniense ante 1341 in Posonio, e d . Janka S z e n d r e i a n d R i c h a r d R y b a r i c
( M u s i c a l i a D a n u b i a n a , 1; Budapest, 1982).
Missale plenarium
Bib. Capit. Gnesnensis Ms. 149, e d . K r z y s z t o f Bieganski and Jerzy
W o r o n c z a k (Antiquitates rnusicae i n P o l o n i a , 1112; Warsaw a n d G r a z , 1970, 1972).
M I S S E T , E . , and W E A L E , W . H . J . , Analecta
liturgica II: Thesaurus
hymnologicus
1-2
(Bruges and L i l l e , 1888, 1892).
and A U B R Y , P I E R R E , Les Proses dAdam de Saint Victor (Paris, 1900).
Mittelalterliche
Bibliotheks-Kataloge
Deutschlands
und der Schweiz ( M u n i c h , 1 9 1 8 - ) (see
also K r a m e r 1989).
Mittelalterliche
Bibliotheks-Kataloge
Oesterreichs ( V i e n n a , 1 9 1 5 - ).

M M M A 1 ( 1 9 5 6 ) = Hymnen I. Die mittelalterlichen

Hymnenmelodien
des Abendlandes,
ed.
Bruno Stablein.
M M M A 2 ( 1 9 7 0 ) = B r u n o Stablein (introduction) and Margareta L a n d w e h r - M e l n i c k i
( e d i t i o n ) , Die Gesdnge des altromischen Graduate Vat. lat. 5319.
M M M A 3 ( 1 9 7 0 ) = Introitus-Tropen
I. Das Repertoire der siidfranzbsischen
und
MMM
MMM
MMS

Tropare

11. Jahrhunderts,
ed. Gunther WeiB.
A 7 ( 1 9 6 8 ) = Alleluia-Melodien
/, bis 1100, e d . K a r l h e i n z Schlager.
A 8 ( 1 9 8 7 ) = Alleluia-Melodien
11\ ab 1100, e d . K a r l h e i n z Schlager.
1 ( M a c o n , 1 9 5 2 ) = Le Prosaire de la Sainte-Chapelle
[part of B a r i ,

des 10.

Biblioteca

Capitolare, 1 ] .
M M S 2 ( M a c o n , 1 9 5 4 ) = Les Manuscrits

musicaux

MMS

d'Aix-la-Chapelle

[part of A a c h e n , Bischofliche

M M S 3 ( R o u e n , 1 9 6 0 ) = Le Prop aire-pros aire de Dublin

[part of C a m b r i d g e , U n i v e r s i t y

3 (Touen,

1 9 6 0 ) = Le

Prosaire

de

Jumieges.

Diozesanbibliothek, 13 ( X I I ) ] .

Library, A d d . 7 1 0 ] .
M M S 5 ( P a n s , 1 9 8 1 ) = Le Graduel de St. Denis [Paris, B i b l i o t h e q u e M a z a r i n e , 3 8 4 ] .
M O B E R G , C A R L A L L A N , Uber die schwedischen Sequenzen: Eine musikgeschichtliche
Studie,
vols. ( V G A 1 3 ; U p p s a l a , 1 9 2 7 ) .
Die liturgischen Hymnen in Schweden

(Uppsala, 1947).

M O C Q U E R E A U , A N D R E , ' O r i g i n e et classement de differentes ecritures n e u m a t i q u e s : 1 .

N o t a t i o n oratoire ou c h i r o n o m i q u e , 2 . N o t a t i o n musicale ou diastematique', P a l M u s 1 , 9 6 160.

' N e u m e s - a c c e n t s liquescents ou semi-vocaux', P a l M u s 2 , 3 7 - 8 6 .

Ix Nombre musical gregorien ou tythmique gregorienne, 2 vols. ( R o m e , 1 9 0 8 - 1 9 2 7 ) .
' L a Pensee pontificate et la restauration gregorienne', RG 5 ( 1 9 2 0 ) , 1 8 1 - 9 ; 6 ( 1 9 2 1 ) , 9 j

18,

46-53.

M O D E R I N I , A V E , La notazione neumatica di Nonantola,

2 vols. ( C r e m o n a , 1 9 7 0 ) .
M O E L L E R , E . , Co?pus benedictioriurn pontificalium,
4 vols. ( C o r p u s C h r i s t i a n o r u m , 1 6 2 ;
Turnhout,

197-19).

M O H L B E R G , L . C U N I B E R T (ed.), Missale Gothicum ( R e r u m ecclesiasticarum d o c u m e n t a ,

Series m a i o r , Fontes, 5 ; R o m e , 1 9 6 1 ) .
E I Z E N H O F E R , L . , a n d S I F F R I N , P . (eds.), Sacrament a rium Veronense ( R e r u m ecclesiasticarum d o c u m e n t a , Series maior, Fontes, 1 ; R o m e , 1 9 5 6 ) .
(eds.), Missale Gallicanum
vetus ( R e r u m ecclesiasticarum d o c u m e n t a , Series
maior, F o n t e s , 3 ; R o m e , 1 9 5 8 ) .
(eds.), Liber sacramentorum
Romanae aecclesiae ordinis anni circuli
(Sacramentarium
Gelasianum)
( R e r u m ecclesiasticarum documenta, Series m a i o r , Fontes, 4 ;
Rome,

1960).

M O H L B E R G Festschrift 1 9 4 8 = Miscellanea

liturgica

in honorem L. Cunibert Mohlberg,

( B i b l i o t h e c a ephemerides liturgicae, 2 3 ; R o m e , 1 9 4 8 ) .
MOLITOR,
R A P H A E L , Die nach-Tridentinische
Choralreform

2 vols.

2 vols.

(Leipzig,

Chorals

und

des

Notendruckes
in Deutschland
(Regensburg, 1 9 0 4 ) .
M O L L E R , H A R T M U T , 'Research on the A n t i p h o n e r P r o b l e m s and Perspectives', JPMMS

10

zu

Rom,

1901-2).

Deutsche

(1987),

Choral-Wiegendrucke:

Ein

Beitrag

zur

Geschichte

des

1-14.

' Z u r Reichenauer O f f i z i u m s t r a d i t i o n der Jahrtausendwende', SMH 2 9 ( 1 9 8 7 ) , 3 5 - 6 1 .

M O L L E R , H A R T M U T , 'Deutsche N e u m e n S t . G a l l e r N e u m e n . Z u r E i n o r d n u n g der Echternacher N e u m e n s c h r i f t \ SMH 30 (1988), 4 1 5 - 3 0 .

(ed.), Das Ouedlinburger Antiphonar (Berlin, Staatsbibliothek
Preufiischer
Kulturbesitz
Mus. ms. 40047), 3 vols. ( T u t z i n g , 1990).
'Die P r o s u l a "Psalle m o d u l a m i n a " ( M i i 9543) u n d ihre musikhistorische B e d e u t u n g , in
L e o n a r d i a n d M e n e s t o 1990, 2 7 9 - 9 6 .
M O N E , F . J . , Lateinische
unci griechische Messen aus dem zweiten bis sec listen
Jahrhundert
( F r a n k f u r t , 1850; P L 138, 8 6 2 - 8 2 ) .
M O N E T A C A G L I O , E R N E S T O , 'I responsori " c u m i n f a n t i b u s " nella liturgia ambrosiana', i n
C a s t i g l i o n i Festschrift 1957, 4 8 1 - 5 7 4 .
M O R A W S K I , J E R Z Y , Polska liryka muzycna w sredniowieczu:
Repertuar sekwencyjny
cystersow
(XIII-X\fI
w.) [resume: ' P o l i s h musical l y r i c i n the M i d d l e A g e s : T h e Cistercians'
sequence repertory ( 1 3 t h - 1 6 t h c.)'] (Warsaw, 1973).
'Recherches sur les variantes regionales dans le chant gregorien', SMH 30 (1988), 4 0 3 ,

14.
M O R I N , G E R M A I N , ' F r a g m e n t s inedits et jusqu'a present uniques d ' A n t i p h o n a i r e G a l l i c a n ' , RB
22 (1905), 3 2 9 - 5 6 .
' L e s P l u s A n c i e n s C o m e s ou lectionnaire de l'Eglise romaine', RB 27 (1910), 4 1 - 7 4 .
' L i t u r g i e et basiliques de R o m e au m i l i e u d u v n siecle', RB 28 (1911), 2 9 6 - 3 3 0 .
e

' L e P l u s A n c i e n M o n u m e n t q u i existe de la liturgie gallicane: L e lectionnaire palimpseste

de W o l f e n b u t t e l ' , EL 51 (1937), 3 - 1 2 .
(ed.), Sancti Caesarii Arelatensis opera omnia ( M a r e d s o u s , 1942).
M U H L M A N N , W I L H E L M , Die Alia Musica (Gerbert, Scriptores I): Quellenfrage, Umfang, Inhalt
und Stammbaum
( L e i p z i g , 1914).
M U L L E R , H E R M A N , Die Musik Wilhelms von Hirschau.
Widerherstellung,
Ubersetzung
und
Erkldrung seines musik-theoretischen
Werkes ( F r a n k f u r t , 1883).
Hucbalds echte und unechte Schriften uber Musik ( L e i p z i g , 1884).
M U L L E R , H . F . , 'Pre-history of the M e d i e v a l D r a m a : T h e Antecedents of the T r o p e s and the
C o n d i t i o n s of their Appearance', Zeitschrift fiir romanische Philologie, 44 ( 1 9 2 4 - 5 ) , 5 4 4 75.
M U L L E R - B L A T T A U Festschrift 1966 = Zum 70. Geburtstag
von Joseph
Muller-Blattau
(Saarbrucker S t u d i e n z u r Musikwissenschaft, 1; K a s s e l , 1966).
M U R P H Y , J O S E P H M I C H A E L , ' T h e 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 . , U n i v e r s i t y of
P e n n s y l v a n i a , 1977; U M I 7 8 - 0 6 6 2 5 ) .
M U R R A Y , G R E G O R Y , Gregorian Chant according to the Manuscripts
( L o n d o n , 1963).
La Musique dans la liturgie (La Maison-Dieu,
108; 1971).
N E J E D L Y , Z D E N K , Zpev predhusitskylGeschichte
des vorhussitischen
Gesanges in Bohmen
(Prague, 1904; 2 n d e d n . , 1954) [vol. i of Djiny husitskeho zpevu, 3 vols. (Prague, 1 9 0 4 - 1 3 ;
2nd edn., 1954-6)].
N E T Z E R , H . , L Introduction
de la messe romaine
1910).
N e u f v i l l e , J . see V o g u e , A d a l b e r t de.
}

en France

sous les Carolingiens

(Paris,

N I C H O L S O N , E D W A R D W I L L I A M S B Y R O N , Early Bodleian Music 3: Introduction to the Study

of Some of the Oldest Latin Manuscripts
in the Bodleian
Library
Oxford ( L o n d o n ,
1913).
N I C O L A U , M . G . , UOrigine
du 'cursus' rythrnique et les debuts de Vaccent dintensite en latin
( P a n s , 1930).

N I E M O L L E R , K L A U S W O L F G A N G , Die Musica gregoriana des Nicolaus Wollick: Opus aureum,

Koln 1501 pars 1111 (Beitrage z u r rheinischen M u s i k g e s c h i c h t e , 11; C o l o g n e , 1955).
}

N O R B E R G , D A G , Introduction
a Vetude de la versification
S t o c k h o l m i e n s i a , 5 ; 1958).

latine

medievale

(Studia Latina

N O R D E N , E D U A R D , Die antike Kunstprosa

(4th e d n . , L e i p z i g , 1923).
N O R T I E R , G E N E V I E V E , ' L e s Bibliotheques medievales des abbayes benedictines de Normandie',
Revue Mabillon,
187 (1957), 1-34, 5 7 - 8 3 , 1 3 5 - 7 1 , 2 1 4 - 4 4 ; 188 (1958), 1 - 1 9 , 9 9 - 1 2 7 ,
1 6 5 - 7 5 , 2 4 9 - 5 7 ; new edition (Paris, 1971).
N O R T O N , M I C H A E L L E E , ' T h e T y p e II Visitatio S e p u l c h r i : A Repertorial S t u d y ' ( D i s s . , O h i o
State U n i v e r s i t y , 1983; U M I 8 3 - 1 1 7 8 3 ) .
' O f "Stages" and " T y p e s " i n Visitatione S e p u l c h r i ' , Comparative
61, 1 2 7 - 4 4 .
NOWACKI, EDWARD,
191-201.

Drama,

21 (1987), 3 4 -

' T h e Syntactical A n a l y s i s of Plainchant', i n Congress Berkeley 1977,

'Studies o n the Office A n t i p h o n s of the O l d R o m a n M a n u s c r i p t s ' ( D i s s . , Brandeis

U n i v e r s i t y , 1980; U M I 8 0 - 2 4 5 4 6 ) .
' T h e G r e g o r i a n Office A n t i p h o n s a n d the C o m p a r a t i v e M e t h o d ' , Journal of Musicology,
4 (1985), 2 4 3 - 7 5 .
' T e x t D e c l a m a t i o n as a D e t e r m i n a n t of M e l o d i c F o r m i n the O l d R o m a n E i g h t - M o d e
T r a c t s ' , EMH 6 (1986), 193-225.
' T h e Performance of Office A n t i p h o n s i n T w e l f t h - C e n t u r y R o m e ' , i n C a n t u s Planus
1990,

79-92.

O D E L M A N , E V A , ' C o m m e n t a-t-on appele les tropes? Observations sur les r u b r i q u e s des tropes
des x et x i siecles', Cahiers de civilisation medievale,
18 (1975), 1 5 - 3 6 .
see also C T .
O E S C H , H A N S , Guido von Arezzo:
Biographisches
und Theoretisches
unter
besonderer
Beriicksichtigung
der sogennanten odonischen Traktate ( P u b l i k a t i o n e n der Schweizerischen
M u s i k f o r s c h e n d e n Gesellschaft, ser. 2, 4 ; Berne, 1954).
e

Bemo und Hermann von Reichenau als Musiktheoretiker

( P u b l i k a t i o n e n der Schweizerischen M u s i k f o r s c h e n d e n Gesellschaft, ser. 2, 9 ; Berne, 1961).
Offertoriale triplex, e d . R u p e r t Fischer (Solesmes, 1985) [Ott 1935 w i t h neumes of L a o n 239
and E i n s i e d e l n 121 or St G a l l 339].
O M L I N , E P H R E M , Die Sankt Gallischen Tonarbuchstaben:
Ein Beitrag zur
Entwicklungsgeschichte der Offiziumsantiphonen
in Bezug auf ihre Tonarten und Psalmkadenzen
(VGA
18; Regensburg, 1934).
O N N E R F O R S , A . , ' Z u r O f f i z i e n d i c h t u n g i m schwedischen M i t t e l a l t e r m i t einer E d i t i o n des
B i r g e r Gregersson zugeschriebenen " O f f i c i u m S . B o t u i d a " ' , Mittellateinisches
Jahrbuch,
3
(1966), 5 5 - 9 3 .
O R E L , D O B R O S L A V , Kanciondl Eranus&v z roku 1505: Prispevek k vyvoji notace a k
zpevu jednohlaseho i vicehlaseho doby Jagellovch
v Cechdch (Prague, 1922).
H O R N O F , V L A D I M I R , and V O S Y K A , V A C L A V , Cesky Kanciondl

dejindm

(Prague, 1921).

O S S I N G , H . , Untersuchungen
zum Antiphonale Monasteriense
(Alopecius Druck 1537): Ein
Vergleich mit den Handschriften des Munsteriandes
(Kolner Beitrage zur Musikwissenschaft,
39; Regensburg, 1966).
O T T , K A R L , Offertoriale sive versus offertoriorum
( T o u r n a i , 1935).
O T T O S E N , K N U D , LAntiphonaire
latin au Moyen-Age: Reorganisation

des series de repons de

l Avertt classes par R.-J. Hesbert

1986).
f

( R e r u m ecclesiasticarum d o c u m e n t a , extra s e r i e m ; R o m e ,

O T T 6 S S O N , R O B E R T A . , Sancti Thorlaci Episcopi officio rhythmic a et proprium missae in AM

241a folio ( B i b l i o t h e c a Arnamagnaeana S u p p l e m e n t u m , 3 ; C o p e n h a g e n , 1959).
Oxford Classical Dictionary,
e d . N i c h o l a s G . H a m m o n d (2nd e d n . , O x f o r d , 1970).
Oxford Dictionary of the Christian Church, e d . F r a n k L . C r o s s a n d E l i z a b e t h A . L i v i n g s t o n e
(2nd e d n . , O x f o r d , 1974).
P A G E , C H R I S T O P H E R , ' T h e Earliest E n g l i s h K e y b o a r d ' , Early Music, 7 (1979), 3 0 9 - 1 4 .
P A L I S C A , C L A U D E V . , arts. ' A n o n y m o u s T h e o r e t i c a l W r i t i n g s ' , ' T h e o r y , T h e o r i s t s ' , NG.
P a l M u s 1 (Solesmes, 1889) = Le Codex 339 de la Bibliotheque
de Saint-Gall
(X' siecle):
Antiphonale
missarum sancti
Gregorii.
P a l M u s 2 (Solesmes, 1891) = Le Repons-graduel

Justus

ut palrna,

reproduit

en

facsimile

d'apres plus de deux cents antiphonaires

manuscrits du IX au XVII
siecle.
P a l M u s 3 (Solesmes, 1892) = Le Repons-graduel Justus ut palma: Deuxierne
partie.
P a l M u s 4 (Solesmes, 1894) = Le Codex 121 de la Bibliotheque dEinsiedeln
(IX -XI
siecle):
e

Antiphonale
missanim sancti
Gregorii.
P a l M u s 5 (Solesmes, 1896) = Antiphonarium
siecle), Codex Additional
34209.
P a l M u s 6 (Solesmes, 1900) = Antiphonarium

Ambrosianurn

du Musee

Britannique

(XIV

Ambrosianurn

du Musee

Britannique

(XIP

siecle), Codex Additional 34209:

Transcription.
P a l M u s 7 (Solesmes, 1901) = Antiphonarium
tonale missarum,

XL siecle: Codex H. 159 de la

Bibliotheque
de VEcole de Medecine de
Montpellier.
P a l M u s 8 (Solesmes, 1901-5) = Antiphonarium
tonale rnissar~um, XL siecle: Codex H. 159 de
la Bibliotheque de VEcole de Medecine de Montpellier.
Phototypies.
P a l M u s 9 (Solesmes, 1906) = Antiphonaire
monastique,
XIP siecle: Codex 601 de la
Bibliotheque
Capitulaire de Lucques.
P a l M u s 10 (Solesmes, 1909) = Antiphonale missarum sancti Gregorii, IX -X
siecle: Codex
e

239 de la Bibliotheque
de Laon.
P a l M u s 11 (Solesmes, 1912) = Antiphonale missarum sancti Gregorii, X siecle: Codex 47 de
la Bibliotheque de Chart res.
P a l M u s 12 (Solesmes, 1922) = Antiphonaire monastique, XIIP siecle: Codex P. 160 de la
Bibliotheque
de la Cathedrale
de Worcester.
P a l M u s 13 (Solesmes, 1925) = Le Codex 903 de la Bibliotheque
Nationale
de Paris (XT
siecle): Graduel de
Saint-Yrieix.
P a l M u s 14 (Solesmes, 1931) = Le Codex 10673 de la Bibliotheque
Vaticane fonds latin (XL
siecle): Graduel
Beneventain.
P a l M u s 15 (Solesmes, 193757) = Le Codex VI. 34 de la Bibliotheque Capitulaire de Benevent
(XT-XIP
siecle): Graduel de Benevent avec pros aire et tropaire.
P a l M u s 16 (Solesmes, 1955) = I^e Manuscrit
du Mont-Renaud,
X siecle: Graduel
et
antiphonaire
de Noyon.
P a l M u s 17 (Solesmes, 1958) = Fragments
des manuscrits
de Chart res,
reproduction
e

phototypique:
Presentation par le Chanoine Yves
Delaporte.
P a l M u s 18 (Berne, 1969) = Le Codex 123 de la Bibliotheque Angelica
Graduel et tropaire de Bologne.
P a l M u s 19 (Berne, 1974) = U Manuscrit
807, Universitdtsbibliothek
Graduel de
Klosterneuburg.

de Rome (XF
Graz

(XIP

siecle):
siecle):

P a l M u s 2 0 (Berne, 1 9 8 3 ) = Le Manuscrit
VI-33, Archivio
Benevent (debut du XL
siecle).
P a l M u s 11/1 (Solesmes, 1 9 0 0 ) = Antiphonaire
de Voffice
MSS. Saint-Gall
390-391
(980-1011).
P a l M u s 11/2 (Solesmes, 1 9 2 4 ) = Cantatorium,
IX siecle:
Gall.
P A N N A I N , G U I D O , ' L i b e r rnusicae. U n teorico anonimo
e

italiana,

27

(1920),

monastique

Benevento:
transcrit

par

N 359 de la Bibliotheque

de

Hartker:
de

del X I V secolo', Rivista

liturgische

Jahr

ordinem

Fratrum

(Munich,

1963).

Praedicatorum

P A T I E R , D O M I N I Q U E , ' U n office r y t h m i q u e tcheque d u x i v *

Saintmusicale

m e

(Helsinki, 1971).

siecle: E t u d e comparative avec

quelques offices hongrois', SMH 1 2 ( 1 9 7 0 ) , 4 1 - 1 2 9 .

' L ' O f f i c e r y t h m i q u e de sainte L u d m i l a ' , EG 2 1 ( 1 9 8 6 ) , 4 9 - 9 6 .
P E R E G O , C A M I L L O , La regola del canto fermo ambrosiano ( M i l a n , 1 6 2 2 ) .
P E S C E , D O L O R E S , ' B - F l a t : T r a n s p o s i t i o n or T r a n s f o r m a t i o n ? ' , Journal of Musicology,
6),

Missel

407-40.

P A R E D I , A . , ' M i l a n e s e R i t e ' , NCE.

P A R V I O , M . , Missale Aboense secundum
P A S C H E R , J O S E P H , Das

Arcivescovile

4 (1985

330-49.

The Affinities and Medieval

Transposition
(Bloomington, I n d . , 1 9 8 7 ) .
P F A F F , R I C H A R D W . , New Liturgical
Feasts in Later Medieval England ( O x f o r d , 1 9 7 0 ) .
Medieval
Toronto,

Latin

Liturgy:

A Select Bibliography

(Toronto Medieval Bibliographies, 9 ;

1982).

P H I L L I P S , N A N C Y , ' M u s i c a and Scolica e n c h i r i a d i s : Its L i t e r a r y , T h e o r e t i c a l , and M u s i c a l

Sources' ( D i s s . , N e w Y o r k U n i v e r s i t y , 1 9 8 4 ; U M I 8 5 - 0 5 5 2 5 ) .
' T h e D a s i a N o t a t i o n and its M a n u s c r i p t T r a d i t i o n ' , i n H u g l o 1 9 8 7 , 1 5 7 - 7 3 .
and H U G L O , M I C H E L , ' T h e Versus R e x c a e l i A n o t h e r L o o k at the So-called A r c h a i c
S e q u e n c e ' , JPMMS

5 (1982),

36-43.

' L e " D e m u s i c a " de saint A u g u s t i n et l'organisation de la duree musicale d u i x au

x n siecles', Recherches augustiniennes,
20 (1985), 117-31.
P I C O N E , C A R M E L O , 'II "salicus" con lettere espressive nel codice d i L a o n 2 3 9 ' , EG 1 6 ( 1 9 7 7 ) , 7 c

143.

P I K U L I K , J E R Z Y (ed.), Etat des recherches sur la musique religieuse dans la culture

(Warsaw,

polonaise

1973).

' L e s Offices polonais de saint A d a l b e r t ' , in P i k u l i k 1 9 7 3 , 3 0 6 - 7 2 .

'Sekwencje Polskie/Polish sequences', Musica medii aevi, 4 ( 1 9 7 3 ) , 7 - 1 2 8 ; 5 ( 1 9 7 6 ) , 6 194.

Indeks sekwencji w polskich r$kopisach muzycznych

[resume: 'Sequence index i n the
Polish m u s i c a l m a n u s c r i p t s ' ] . Sekwencje
zespolu r$kopisow
tamowskich
[resume:
'Sequences f r o m the T a r n o w manuscript set'] (Warsaw, 1 9 7 4 ) .
'Indeks spiewow o r d i n a r i u m missae w gradualach polskich do 1 6 0 0 R . ' [resume: ' I n d e x
des chants polonais de l'ordinaire de la messe au m o y e n age'], Muzyka
Materiafy

Spiewy

i studia,

alleluia

2 (1978),

religijna

Polsce:

139-272.

o najswi$tszej

Maryi

Pannie

w polskich gradualach

przedtrydenckich

[resume: ' L e s chants alleluia en 1'honneur de la Vierge M a r i e dans les graduels polonais
antetridentins'], Muzyka
religijna
w Polsce: Materiafy
i studia,
6 ( 1 9 8 4 ) [complete
volume].
' L e s T r o p e s d u K y r i e et d u Sanctus dans les graduels polonais medievaux', i n L e o n a r d i
and M e n e s t o 1 9 9 0 ,

325-35.

P I N E A U , C , Le Plain-chant

musical

en France

au XVIF

siecle ( n . p . , 1955).

P I N E L L , J . M . , ' L o s textos de la antigua l i t u r g i a h i s p a n i c a : Fuentes para su estudio', i n R i v e r a

R e c i o 1965, 1 0 9 - 6 4 .
PITMAN, GROVER

A L L E N , ' T h e L e n t e n Offertories of the A q u i t a n i a n M a n u s c r i p t s ' ( D i s s . ,

C a t h o l i c U n i v e r s i t y of A m e r i c a , 1973; U M I 7 3 - 1 2 8 8 5 ) .
P L A N C H A R T , A L E J A N D R O E N R I Q U E , The Repertory

of Tropes at Winchester,

2 vols. (Princeton,

1977).
' T h e T r a n s m i s s i o n of M e d i e v a l C h a n t ' , i n Iain F e n l o n (ed.), Music
Early

Modern

Europe:

' A b o u t T r o p e s ' , Schweizer

' I t a l i a n T r o p e s ' , Mosaic,
'On

in Medieval

and

Sources and Texts ( C a m b r i d g e , 1981), 3 4 7 - 6 3 .

Patronage,

jfahrbuch

N S , 2 (1982), 1 2 5 - 3 5 .

fiir Musikwissenschaft,

18/4 (1985), 1 1 - 3 1 .

the N a t u r e of T r a n s m i s s i o n and Change i n T r o p e Repertories', JAMS

41 (1988),

215-49.
' T h e Interaction between M o n t e c a s s i n o and Benevento', i n L e o n a r d i a n d M e n e s t o 1990,
385-407.
and F U L L E R ,

PLANER,

JOHN

S A R A H , 'St

HARRIS,

Martial',

NG.

' T h e Ecclesiastical

M o d e s i n the L a t e

Eighth Century' (Diss.,

U n i v e r s i t y of M i c h i g a n , 1970; U M I 7 1 - 1 5 2 7 0 ) .
P L O C E K , V A C L A V , Catalogus
publicae

Bohemicae

codicum

socialisticae

notis musicis instructorum

in Bibliotheca

qui in Bibliotheca

universitatis

Pragensis

publico

rei

2 vols.

servantur,

(Prague, 1973).
P O C K N E E , C Y R I L E . , The French
PODLAHA,

ADOLF

Diocesan

PATERA-ANTONIN,

(Prague,

Metropolitankapitels

P O L H E I M , K A R L , Die lateinische

( L o n d o n , 1954).

Hymns and their Melodies

Handschriften-Katalog

der

Bibliothek

des

Prager

1910).
( B e r l i n , 1925; 2 n d e d n . , 1963).

Reimprosa

P O N C H E L E T , R E N , ' L e Salicus en c o m p o s i t i o n dans le codex S t . G a l l 359', EG 14 (1973), 7 125.

P O N T E , J O S E P H P . , ' A u r e l i a n i R e o m e n s i s M u s i c a d i s c i p l i n a : A Revised T e x t , T r a n s l a t i o n a n d
C o m m e n t a r y ' ( D i s s . , B r a n d e i s U n i v e r s i t y , 1961; U M I 6 2 - 0 1 2 0 7 ) .
Aurelian

of Reome

(ca.

843):

The Discipline

of Music

(Musica

disciplina)

(Colorado

C o l l e g e M u s i c Press, T r a n s l a t i o n s , 3 ; 1968).
PORAS, GRGOIRE,

' R e c h e r c h e s sur les conditions d u chant l i t u r g i q u e pendant le haut m o y e n

age', EG 21 (1986), 2 3 - 5 .
PORTER,
POTHIER,

W . S . , The Galilean
J O S E P H , I^es Melodies

Rite ( L o n d o n , 1958).
gregoriennes

P O T I R O N , H E N R I , IM Theorie harmonique

d'apres la tradition

( T o u r n a i , 1880).

de trois groupes modaux et Vaccord final des 3 et 4

e

modes ( M o n o g r a p h i e s gregoriennes, 6; T o u r n a i , 1925).

La Modalite
L'Origine

gregorienne

La Notation

( T o u r n a i , 1948).

grecque et Boece ( T o u r n a i , 1951).

Boece, theoricien
'La

( M o n o g r a p h i e s gregoriennes, 9 ; T o u r n a i , 1928).

des modes gregoriennes

de la musique

grecque

(Paris, 1954).

M o d a l i t e de la Messe I', RG 33 (1954), 4 5 - 8 .

'La

N o t a t i o n grecque dans l ' l n s t i t u t i o n h a r m o n i q u e d ' H u c b a l d ' , EG 2 (1957), 3 7 - 5 0 .

'La

T e r m i n o l o g i e grecque des modes', EG 7 (1967), 5 7 - 6 1 .

' V a l e u r et t r a d u c t i o n de la notation grecque', EG 15 (1975), 1 9 3 - 9 .

P O W E R S , H A R O L D S.,

'Mode',

P R A D O , G E R M A N , Manual

AG.

de liturgia

hispano-visigotica

o mozarabe

( M a d r i d , 1927).

P R A D O , G E R M A N , Historia
Cantus lamentationum
(Paris, 1934).

del rito mozarabe

pro ultimo

y toledano

(Santo D o m i n g o de S i l o s , 1928).

triduo hebdomadae

majoris

juxta

hispanos

P R I M , J . , " ' C h a n t sur le l i v r e " i n F r e n c h C h u r c h e s i n the 18th C e n t u r y ' , JAMS

49.
Processionale
Processionale
1893).
PROCTER,

codices

14 (1961), 3 7 -

ad usum Sarum ( L o n d o n : R i c h a r d P y n s o n , 1502) ( f a c , C l a r a b r i c k e n , 1980).

monasticum ad usum congregationis gallicae ordinis Sancti Benedicti
(Solesmes,

FRANCIS,

and W O R D S W O R T H ,

CHRISTOPHER

( e d s . ) , Breviarium

ad

usum

ecclesiae Sarum, 3 vols. ( C a m b r i d g e , 1882, 1879, 1886).

Psalterium
monasticum
(Solesmes, 1981).
Q U A S T E N Festschrift 1970 = P . G r a n f i e l d and Josef J u n g m a n n (eds.), Kyriakon:

insignis

Festschrift

Johannes Quasten, 2 vols. ( M u n s t e r , 1970).

Q U E N T I N , H E N R I , Les Martyrologes historiques du moyen age (Paris, 1908).
R A A S T E D , J O R G E N , Intonation
Formulas
and Modal Signatures
in Byzantine

Musical

Manuscripts
( M o n u m e n t a rnusicae Byzantinae, S u b s i d i a , 7; C o p e n h a g e n , 1966).
R A B Y , F . J . E . , A History of Christian-Latin
Poetry from the Beginnings to the Close of the
Middle Ages ( O x f o r d , 1927; 2 n d e d n . , 1953).
R A D 6 , P O L Y C A R P , Libri liturgici manuscripti
bibliothecamm
regionum * (Budapest, 1973).
R A J E C K Y , B E N J A M I N , a n d R A D 6 , P O L Y C A R P , Hymnen

Hungariae

und Sequenzen

et

limitropharum

(Melodiarum Hungariae

m e d i i aevi, 1; Budapest, 1956; rev. e d n . 1982 w i t h new s u p p l e m e n t a r y v o l . ) .

R A N D , E D W A R D K E N N A R D , Founders of the Middle Ages ( C a m b r i d g e , M a s s . , 1929).
R A N D E L , D O N M . , The Responsorial Psalm Tones for the Mozarabic
Office ( P r i n c e t o n , 1969).
' R e s p o n s o r i a l P s a l m o d y i n the M o z a r a b i c R i t e ' , EG 10 (1969), 8 7 - 1 1 6 .
An Index to the Chant of the Mozarabic Rite ( P r i n c e t o n , 1973).
' A n t i p h o n a l P s a l m o d y i n the M o z a r a b i c R i t e ' , i n Congress Berkeley 1977, 4 1 4 - 2 2 .
' E l antiguo rito hispanico y la salmodia p r i m i t i v a en occidente', Revista de musicologia,
8
(1985), 2 2 9 - 3 8 .
' M o z a r a b i c R i t e , M u s i c of the', NG.
R A N K E , E . , Codex Fuldensis NT latine, interprete Hieronymo ( M a r b u r g a n d L e i p z i g , 1868).
R A N K I N , S U S A N K . , ' T h e M u s i c of the M e d i e v a l L i t u r g i c a l D r a m a i n F r a n c e a n d i n E n g l a n d '
( D i s s . , U n i v e r s i t y of C a m b r i d g e , 1981).
' T h e M a r y M a g d a l e n e Scene i n the Visitatio Sepulchri C e r e m o n i e s ' , EMH 1 (1981),
227-55.
' A N e w E n g l i s h S o u r c e of the Visitatio Sepulchri', JPMMS
4 (1981), 1 - 1 1 .
' F r o m M e m o r y to R e c o r d : M u s i c a l N o t a t i o n s i n M a n u s c r i p t s f r o m Exeter',
Anglo-Saxon
England,
13 (1984), 9 7 - 1 1 2 .
' T h e L i t u r g i c a l B a c k g r o u n d of the O l d E n g l i s h A d v e n t L y r i c s : A R e a p p r a i s a l ' , i n
Clemoes Festschrift 1985, 3 1 7 - 4 0 .
' M u s i c a l and R i t u a l Aspects of Quern queritis', i n S i l a g i 1985, 1 8 1 - 9 2 .
' N e u m a t i c N o t a t i o n s i n A n g l o - S a x o n E n g l a n d ' , i n H u g l o 1987, 1 2 9 - 4 4 .
R A S M U S S E N , N I E L S K R O G H , Les Pontificaux
du haut moyen-age ( [ D i s s . , P a r i s ] ; A a r h u s ,
1977).
R A T C L I F F , E . C , Expositio antiquae
liturgiae Gallicanae
( H e n r y B r a d s h a w Society, 9 8 ;
L o n d o n , 1971).

R E C K O W , F R I T Z , Der Musiktraktat
des Anonymus 4: Edition und Interpretation
der organum
purum-Lehre
(Beihefte z u m A r c h i v fiir M u s i k w i s s e n s c h a f t , 4 - 5 ; W i e s b a d e n , 1967).
R E E S E Festschrift 1967 = Jan L a R u e (ed.), Aspects of Medieval
and Renaissance
Music,
a Birthday Offering to Gustave Reese ( N e w Y o r k , 1967).
R E H L E , S I E G H I L D , ' M i s s a l e Beneventanum ( C o d e x V I 33 des E r z b i s c h o f l i c h e n A r c h i v s v o n
Benevent)', Sacris erudiri, 21 ( 1 9 7 2 - 3 ) , 3 2 3 - 4 0 5 .
and
G A M B E R , K L A U S , Sacramentarium
Arnonis:
Die Eragrnente
des
Salzburger
Exemplars
( T e x t u s patristici et l i t u r g i c i , 8 and 10; Regensburg, 1970, 1973).
R E I C H E R T , G E O R G , ' S t r u k t u r p r o b l e m e der alteren Sequenz', Deutsche Vierteljahrsschrift
fiir
Literaturwissenschaft
und Geistesgeschichte,
23 (1949), 2 2 7 - 5 1 .
R E I E R , E L L E N J A N E , ' T h e Introit T r o p e Repertory at N e v e r s : M S S Paris B . N . lat. 9449 and
P a n s B . N . n . a. lat. 1235' ( 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, 1981; U M I 8 2 12077).
R E I M E R , E R I C H (ed.), Johannes de Garlandia:
De mensurabili musica. Kritische Edition mit
Kommentar
und Interpretation
der Notationslehre
(Beihefte z u m A r c h i v fiir M u s i k w i s s e n schaft, 1 0 - 1 1 ; W i e s b a d e n , 1972).
' M u s i c u s u n d C a n t o r . Z u r Sozialgeschichte eines musikalischen L e h r s t u c k s ' , AfMw

35

(1978), 1 - 3 2 .
R E N A U D I N , A N D R E , ' D e u x antiphonaires de S a i n t - M a u r - d e s - F o s s e s : B . N . lat. 12584 et
12044', EG 13 (1972), 5 3 - 1 1 9 .
R E N O U X , A T H A N A S E , ' U n manuscrit d u L e c t i o n n a i r e armenien de Jerusalem ( c o d . J e r u s . a r m .
121)', Le Museon, 74 (1961), 3 6 1 - 8 5 ; 75 (1962), 3 8 5 - 9 7 .
Le Codex armenien Jerusalem 121 (Patrologia orientalis, 35/1 and 36/2; T u r n h o u t , 1969,
1971).
R I B A Y , B E R N A R D , ' L e s G r a d u e l s en H A ' , EG 22 (1988), 4 3 - 1 0 7 .
R I E M A N N , H U G O , Notenschrift und Notendruck
( L e i p z i g , 1896).
Geschichte der Musiktheorie im IX.-XIX.
Jahrhundert
(2nd e d n . , B e r l i n , 1920); trans.
R a y m o n d H . H a g g h : History of Music Theory, Books I and II ( L i n c o l n , N e b r . , 1962).
R I G H E T T I , M A R I O , Manuale di storia liturgica, 4 vols. ( M i l a n , 1 9 4 5 - 5 3 ; 3 r d e d n . , 1 9 6 4 - 9 ) .
R I S M B/III = The Theory of Music from the Carolingian
Era up to 1400:
Descriptive
Catalogue of
Manuscripts.
R I S M B/III/1 (1961) = Joseph S m i t s van Waesberghe, Pieter F i s c h e r , a n d C h r i s t i a n M a a s ,
Austria, Belgium, Switzerland,
Denmark, France, Luxembourg,
Netherlands.
R I S M B/III/2 (1968) = Pieter F i s c h e r , Italy.
R I S M B/III/3 (1987) = M i c h e l H u g l o and C h r i s t i a n M e y e r , Federal Republic of
Germany.
R I S M B/V/l (1964) = H e i n r i c h H u s m a n n , Tropen- und
Sequenzenhandschriften.
R I V E R A R E C I O , J . F . (ed.), Estudios sobre la liturgia mozarabe ( T o l e d o , 1965).
R O B E R T , L E O N , ' L e s C h a n t s d u celebrant', RG 41 (1963), 1 1 3 - 2 6 .
R O B E R T , M I C H E L , ' L e G r a d u e l d u M o n t S a i n t - M i c h e l ' , Millertaire monastique du
Mont-SaintMichel, 1 ( P a n s , 1967), 3 7 9 - 8 2 .
R O B E R T S O N , A N N E W A L T E R S , 'Benedicamus
Domino: T h e U n w r i t t e n T r a d i t i o n ' , JAMS 41
(1988), 1 - 6 2 .
The Service Books of the Royal Abbey of Saint-Denis:
Images of Ritual and Music in the
Middle Ages; ( O x f o r d , 1991). "
R O E D E R E R , C H A R L O T T E D . , ' C a n We Identify an A q u i t a n i a n C h a n t Style?', JAMS 27 (1974),
75-99.

R o j o , C , a n d P R A D O , G . , El canto mozarabe: Estudio historico-critico

de su antiguedad y
estado actual (Barcelona, 1929).
R O N N A U , K L A U S , Die Tropen zum Gloria in excelsis Deo, unter besonderer
Bemcksichtigung
des Repertoires der St. Martial-Handschriften
(Wiesbaden, 1967).
' R e g n u m t u u m s o l i d u m ' , i n Stablein Festschrift 1967, 1 9 5 - 2 0 5 .
R O U S S E A U , O . , Histoire du mouvement liturgique: EJsquisse historique depuis le debut du XIX
siecle jusquau
pontificat de Pie X (Paris, 1945).
R u i n i see C S M 25.
e

RUSSELL,

CARLTON THRASHER,

' T h e S o u t h e r n F r e n c h T o n a r y i n the 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 ' ( D i s s . , P r i n c e t o n U n i v e r s i t y , 1966; U M I 6 6 - 0 7 1 8 2 ) .
R U S S E L L , T I L D E N A . , ' A Poetic K e y to a P r e - G u i d o n i a n Psalm and the Echematd,

JAMS

34

(1981), 1 0 9 - 1 8 .
R U T T E R , P H I L I P , ' T h e E p i p h a n y T r o p e C y c l e i n Paris, B i b l i o t h e q u e N a t i o n a l e , fonds latin
1240', i n L e o n a r d i a n d M e n e s t o 1990, 3 1 3 - 2 4 .
S A B L A Y R O L L E S , M A U R , ' A la recherche des manuscrits gregoriens espagnoles: Iter H i s p a n i c u m ' ,
Sammelbdnde
der Internationalen
Musik-Ge sells chaft, 13 ( 1 9 1 1 - 1 2 ) , 2 0 5 - 4 7 , 4 0 1 - 3 2 ,
509-31.
S A C H S , K L A U S - J U R G E N , ' G e r b e r t u s cognomento m u s i c u s : Z u r musikgeschichtlichen S t e l l u n g
des G e r b e r t v o n R h e i m s ' , AfMw 29 (1972), 2 5 7 - 7 4 .
S A C K U R , E R N S T , Die Cluniacenser
in ihrer kirchlichen und allgemeingeschichtlichen
keit bis zur Mitte des elf ten Jahrhunderts,
2 vols. ( H a l l e , 1892, 1894).
Sacred Music and Liturgy [ D e sacra musica et sacra l i t u r g i a ] . Instruction

Wirksamof the

Sacred

Congregation of Rites September 3rd, 1958, trans. J . B . O ' C o n n e l l ( L o n d o n , 1959).

S A L L M A N N , N I C O L A S , ' C e n s o r i n u s ' " D e die natali". Z w i s c h e n R h e t o r i k u n d Wissenschaft',
Hermes, 111 (1983), 2 3 3 - 5 8 .
S A L M O N , P I E R R E , L Office divin: Histoire de la formation du breviaire ( L e x o r a n d i , 2 7 ; Paris,
1959); t r a n s . : The Breviary through the Centuries (Collegeville, M i n n . , 1962).
' U n breviaire-missel d u x i siecle: L e manuscrit Vatican lat. 7018', i n Melanges
Eugene
y

Tisserant,
L Office
}

v i i ( S t u d i e testi, 237; R o m e , 1964), 3 2 7 - 4 3 .

divin au moyen age ( L e x o r a n d i , 4 3 ; Paris, 1967).

Les Manuscrits liturgiques latins de la Bibliotheque

Vaticane ( S t u d i e testi, 251, 253,
260, 267, and 2 7 0 ; R o m e , 1 9 6 8 - 7 2 ) .
S A L V A T , M . , ' U n traite de m u s i q u e d u x i n siecle: L e D e musica de B a r t h e l e m i L ' A n g l a i s ' , i n
B u s c h i n g e r and C r e p i n 1980, 3 4 5 - 6 0 .
S A N D E R S Festschrift 1990 = Peter M . Lefferts and B r i a n S e i r u p (eds.), Studies in
Medieval
Music: Festschrift for Ernest H. Sanders = Current Musicology, 4 5 - 7 (1990).
S A N D O N , N I C K , The Use of Salisbury:
The Ordinary of the Mass ( L u s t l e i g h , 1984).
e

The Use of Salisbury,

The Use of Salisbury,
( L u s t l e i g h , 1991).

2: The Proper of the Mass in Advent ( L u s t l e i g h , 1986).

3: The Proper of the Mass from Septuagesima
to Palm

S C H A R N A G L , A U G U S T , 'Offertorium',

S C H E I W I L E R , A . , Das Kloster
and C o l o g n e , 1938).

Sunday

MGG.

St. Gallen:

Die Geschichte

eines Kulturzentrums

(Einsiedeln

S C H I L D B A C H , M A R T I N , Das einstimmige Agnus Dei und seine handschriftliche

Uberlieferung
vom 10. bis zum 16. Jahrhundert
( D i s s . , 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 , 1967).
S C H L A G E R , K A R L H E I N Z , Thematischer Katalog der dltesten Alleluia-Melodien aus
Handschriften

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:

Canterbury

Referate

(1984)

zweier Colloquien

des Corpus

Troporum

( M u n c h e n e r Beitrage z u r M e d i a v i s t i k u n d

R e n a i s s a n c e - F o r s c h u n g , 3 6 ; M u n i c h , 1985).
S K E A T , W . W . , The Book of Lindisfame:
The Holy Gospels in Anglo-Saxon,

Northumbrian,

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).

' T h e A n t i p h o n s of the Oktoechos', JAMS

13 (1960), 5 0 - 6 7 = S t r u n k 1977, 1 6 5 - 9 0 .
' T h e L a t i n A n t i p h o n s for the Octave of the E p i p h a n y ' , i n Melanges Georges
Ostrogorsky,
ii ( R e c u e i l de travaux de l ' l n s t i t u t d'Etudes byzantines, 8; Belgrade, 1964), 4 1 7 - 2 6 =
S t r u n k 1977, 2 0 8 - 1 9 .
' T r o p u s a n d T r o p a r i o n ' , i n H u s m a n n Festschrift 1970, 3 0 5 - 1 1 = S t r u n k 1977, 2 6 8 - 7 6 .
' D i e Gesange der byzantinisch-griechischen L i t u r g i e ' , i n Fellerer 1972, 12847; t r a n s . :
' T h e C h a n t s of the B y z a n t i n e - G r e e k L i t u r g y ' i n S t r u n k 1977, 2 9 7 - 3 3 0 .
Essays on Music in the Byzantine
World ( N e w Y o r k , 1977).
S T R U N K F e s t s c h r i f t 1968 = H a r o l d S . Powers (ed.), Studies in Music History: Esays for Oliver
Strunk ( P r i n c e t o n , N J , 1968).
S T U A R T , N I C H O L A S , ' M e l o d i c " C o r r e c t i o n s " i n an E l e v e n t h - C e n t u r y G r a d u a l (Paris, B . N . ,
lat. 903)', JPMMS
2 (1979), 2 - 1 0 .
S T U B B S , W I L L I A M , Memorial of Saint Dunstan

( 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), 6 3 ; L o n d o n , 1874).
S U C H I E R , W . , ' D i e E n t s t e h u n g des mittellateinischen
Romanistisches
Jahrbuch,
3 (1950), 5 2 9 - 6 3 .
S U N O L , G R G O I R E M A R I E , Introduction
a la paleographie

u n d romanischen
musicale

Verssystems',

gregorienne

1935); r e v . a n d enlarged trans, of G r e g o r i M a r i a S u n y o l , Introduccio

musical gregoriana
( M o n t s e r r a t , 1925).
see also Antiphonale
missarum a n d Liber
vesperalis.

a la

(Tournai,
paleografia

S Y M O N S , T H O M A S , Regularis Concordia:
The Monastic Agreement of the Monks and Nuns of
the English Nation ( L o n d o n , 1953).
S Z E N D R E I , J A N K A , ' Z u r N o t a t i o n s - u n d Vortragsweise der P r o s u l e n n a c h d e n u n g a r i s c h e n
H a n d s c h r i f t e n ' , i n Magyar Konyvszemle
(Budapest, 1972), 1 5 7 - 6 5 .
A magyar kozepkor hangjegyes forrdsai
[resume: ' N o t i e r t e Q u e l l e n des u n g a r i s c h e n
Mittelalters'] (Budapest, 1981).
Kdzepkori hangjegyirdsok
Magyarorszdgon

[resume: ' M i t t e l a l t e r l i c h e C h o r a l n o t a t i o n e n

in U n g a r n ' ] (Budapest, 1983).

' B e o b a c h t u n g e n an der N o t a t i o n des Z i s t e r z i e n s e r - A n t i p h o n a r s C o d . 1 7 9 9 * * i n der
Osterreichischen N a t i o n a l b i b l i o t h e k ' , SMH 27 (1985), 2 7 3 - 9 0 .
' T h e I n t r o d u c t i o n of Staff N o t a t i o n into M i d d l e E u r o p e ' , SMH 28 (1986), 3 0 3 - 1 9 .
' D i e G e s c h i c h t e der G r a n e r C h o r a l n o t a t i o n ' , SMH 30 (1988), 5 - 2 3 4 .
' C h o r a l n o t a t i o n e n i n M i t t e l e u r o p a ' , SMH 30 (1988), 4 3 7 - 4 6 .
see also Missale notatum
Strigoniense.
S Z I G E T I , K . , ' D e n k m a l e r des gregorianischen C h o r a l s aus d e m ungarischen M i t t e l a l t e r ' , SMH
4 (1963), 1 2 9 - 7 2 .
S Z O V E R F F Y , J O S E F , Die Annalen der lateinischen Hymnendichtung,
2 vols. (Berlin, 1964-5).
Repertorium hymnologicum
novum ( B e r l i n , 1983).
T A C K , F R A N Z , Der gregorianische
Choral ( D a s M u s i k w e r k , 18; trans. Everett H e l m :
Gregorian Chant, A n t h o l o g y of M u s i c , 18; C o l o g n e , 1960).
T A F T , R O B E R T , The Liturgy of the Hours in East and West: The Origins of the Divine
and its Meaning for Today (Collegeville, M i n n . , 1985).

Office

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

handschriftlichen
Uberlieferung
des 11.-16. Jahrhunderts
(Erlanger A r b e i t e n z u r M u s i k wissenschaft, 1; M u n i c h , 1962).
' A n m e r k u n g z u r V e r b r e i t u n g u n d S t r u k t u r der H o s a n n a - T r o p e n i m deutschsprachigen
R a u m u n d d e n O s t l a n d e r n ' , i n Stablein Festschrift 1967, 2 5 0 - 9 .
'Sanctus', MGG.
T H I B A U T , J E A N B A P T I S T E , Origine byzantine
de la notation neumatique
de Veglise
latine
(Paris, 1907).
Monuments
1912) .

de la notation

ekphonetique

et neianatique

de I'eglise latine

(St P e t e r s b u r g ,

Monuments de la notation ekphonetique et hagiopolite de Veglise grecque (St P e t e r s b u r g ,

1913) .
T H O D B E R G , C H R I S T I A N , Der byzantinische Alleluiarionzyklus
( M o n u m e n t a rnusicae Byzantinae,
S u b s i d i a , 8; C o p e n h a g e n , 1966).
T H O M P S O N , E D W A R D M A U N D E , An Introduction
to Greek and Latin Palaeography
(Oxford,
1912).
T I L L Y A R D , H . J . W . , Handbook of the Middle Byzantine
Notation
( M o n u m e n t a rnusicae
Byzantinae, S u b s i d i a , 1/1; Copenhagen, 1935).
T O L H U R S T , J . B . L . , The Monastic Breviary of Hyde Abbey, Winchester (mss.
Rawlinson
Liturg. e. /* and Gough Liturg. 8, in the Bodleian Library, Oxford) ( H e n r y B r a d s h a w
Society, 6 9 ; L o n d o n , 1932; 70 (1933), 71 (1934), 76 (1938), 78 (1940), a n d 80 (1943) ).
T R A U B , A N D R E A S , ' H u c b a l d v o n S a i n t - A m a n d . D e h a r m o n i c a institutione', BzG 7 (1989), 3 101.
7 ' R E I T L E R , L E O , ' M u s i c a l Syntax i n the M i d d l e A g e s : B a c k g r o u n d to an Aesthetic P r o b l e m ' ,
Perspectives of New Music, 4 ( 1 9 6 5 - 6 ) , 7 5 - 8 5 .
' T h e A q u i t a n i a n Repertories of Sacred M o n o d y i n 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 . , P r i n c e t o n U n i v e r s i t y , 1967; U M I 6 7 - 9 6 1 3 ) .
' O n the S t r u c t u r e of the A l l e l u i a M e l i s m a : A Western T e n d e n c y i n W e s t e r n C h a n t ' , i n
S t r u n k Festschrift 1968, 5 9 - 7 2 .
' H o m e r and G r e g o r y : T h e T r a n s m i s s i o n of E p i c Poetry and P l a i n c h a n t ' , MO 60 (1974),
333-72.
contribution to symposium '"Peripherie" und " Z e n t r u m " ' , in Congress Berlin 1974, 5 8 - 7 4 .
' " C e n t o n a t e " C h a n t : U b l e s F l i c k w e r k or Lpluribus
uuus'f, JAMS
28 (1975), 1 - 2 3 .
' T r a n s m i s s i o n and the S t u d y of M u s i c H i s t o r y ' , i n Congress Berkeley 1977, 2 0 2 - 1 1 .
' O r a l , W r i t t e n , and Literate Process i n the T r a n s m i s s i o n of M e d i e v a l M u s i c ' ,
Speculum,
56 (1981), 4 7 1 - 9 1 .
'Observations on the T r a n s m i s s i o n of Some A q u i t a n i a n T r o p e s ' , Forum
musicologicum,
3 (1982), 1 1 - 6 0 .
' T h e E a r l y H i s t o r y of M u s i c W r i t i n g i n the West', JAMS 35 (1982), 2 3 7 - 7 9 .
' F r o m R i t u a l t h r o u g h Language to M u s i c ' , Schweizer Jahrbuch fiir
Musikwissenschaft,
N S , 2 (1982), 1 0 9 - 2 4 .
' R e a d i n g and S i n g i n g : O n the Genesis of Occidental M u s i c - W r i t i n g ' , EMH 4 (1984),
135-208.
'Paleography and Semiotics', in H u g l o 1987, 1 7 - 2 7 .
T U R C O , A L B E R T O , Tracce delta modulitd
arcaica
nella salrnodia
del Temporale
e del
Sanctorale
( M i l a n , 1972).
' L e s Repertoires liturgiques latins en marche vers I'octoechos. L a p s a l m o d i e gregorienne
des fetes d u T e m p o r a l et d u Sanctoral', EG 18 (1979), 1 7 7 - 2 3 3 .

T U R C O , A L B E R T O , Mntroito " T i b i d i x i t " c " A l l e l u i a . D i e s sanctificatus"', i n C a r d i n e Festschrift

1980, 2 5 7 - 6 7 .
' M e l o d i e - t i p o e t i m b r i m o d a l i n e l l ' A n t i p h o n a l e r o m a n u m ' , Studi gregoriani,
3 (1987),
191-241.
T U R N E R , D E R E K H O W A R D , The Missal of the New Minster,
Winchester
(Le
Havre,
Bibliotheque
Municipale, MS330) ( H e n r y Bradshaw Society, 9 3 ; L e i g h t o n B u z z a r d , 1962).
T Y R E R , J O H N W A L T O N , Historical Survey of Holy Week: Its Services and Ceremonial ( A l c u i n
C l u b C o l l e c t i o n s , 2 9 ; L o n d o n , 1932).
U D O V I C H , J O A N N , ' T h e M a g n i f i c a t A n t i p h o n s for the F e r i a l Office', JPMMS
3 (1980), 1 - 2 5 .
' M o d a l i t y , Office A n t i p h o n s , and P s a l m o d y : T h e M u s i c a l A u t h o r i t y of the T w e l f t h C e n t u r y A n t i p h o n a l f r o m S t . - D e n i s ' ( D i s s . , U n i v e r s i t y of N o r t h C a r o l i n a at C h a p e l H i l l ,
1985; U M I 8 5 - 2 7 3 3 1 ) .
U H L F E L D E R , M Y R A L . (trans.), Joannes Scotus, Erigena: Periphyseon.
On the Division
of
Nature,
w i t h summaries b y Jean A . Potter ( L i b r a r y of L i b e r a l A r t s , 157; Indianapolis,
I n d . , 1976).
U L L M A N N , P E T E R , ' B e r i c h t uber die vergleichende Repertoire-Analyse der Breviere aus
U n g a r n ' , SMH 27 (1985), 1 8 5 - 9 2 .
U N D E R W O O D , P E T E R , ' M e l o d i c T r a d i t i o n s i n M e d i e v a l E n g l i s h A n t i p h o n e r s ' , JPMMS
5
(1982), 1 - 1 2 .
U N D H A G E N , C A R L - G U S T A V ( e d . ) , Birger Gregerssons 'Birgitta-officium'
(Svenska F o r n s k r i f t s allskapet, ser. 2 ; L a t i n s k a skrifter, 6; S t o c k h o l m , 1960).
V A G A G G I N I , C I P R I A N O , // senso teologico delta liturgia: Saggio di liturgia teologica generate, 2
vols. ( R o m e , 1957; 4 t h e d n . , 1965); t r a n s . : Theological Dimensions of the Liturgy, 2 vols.
( C o l l e g e v i l l e , M i n n . , 1959).
V A L O U S , G U Y de, Le Monachisme
clunisien des origines au XV' siecle: Vie interieure
des
monasteres et organisation
de Vordre, 2 vols. ( L i g u g e and Paris, 1935; 2 n d e d n . , 1970).
V A N D E R W E R F , H E N D R I K , The Emergence of Gregorian Chant, i , 2 vols. (Rochester, N Y ,
1983).
V A N D E U S E N , N A N C Y M . , ' A n H i s t o r i c a l and Stylistic C o m p a r i s o n of the G r a d u a l s of
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 ' ( D i s s . , Indiana U n i v e r s i t y , 1972; U M I 7 3 - 0 9 7 8 3 ) .
Music at Nevers CathedralPrinciple
Sources of Medieval Chant, 2 vols. ( H e n r y v i l l e ,
1980).
T h e Sequence Repertory at Nevers C a t h e d r a l ' , Forum musicologicum,
2 (1980), 4 4 - 5 9 .
'Style, N a t i o n a l i t y a n d the Sequence i n the M i d d l e Ages', JPMMS
5 (1982), 4 4 - 5 5 .
V A N I C K Y , J A R O S L A V , ' F r a t e r D o m a s l e v (Domaslaus), der alteste bekannte S e q u e n z d i c h t e r
B o h m e n s ' , Jahrbuch fiir Liturgik und Hymnologie,
5 (1960), 1 1 8 - 2 2 .
Variae preces ex liturgia, turn hodierna turn antiqua (Solesmes, 1896).
Vaterlein see Graduate
Pataviense.
V E C C H I , G I U S E P P E , Uffici dra?nmatia\ padovani ( F l o r e n c e , 1954).
(ed.), Troparium sequentiarium
Nonantulanum,
Cod. Casanat. 1741 ( M o n u m e n t a l y r i c a
medii aevi italica, I. L a t i n a , i ; M o d e n a , 1955).
V E L I M I R O V I , M I L O S , arts. ' E c h o s ' , 'Russian and Slavonic c h u r c h music', NG.
l

V E R D O N , T I M O T H Y G R E G O R Y , and D A L L E Y , J O H N (eds.), Monasticism

and

N Y , 1984).
V E R H E I J E N , L U C , La Regie de Saint Augustin, 2 vols. (Paris, 1967).
V I D A K O V I C \ A . , 'I n u o v i c o n f i n i della scrittura neumatica musicale
Studien zur Musikwissenschaft,
24 (1960), 5 - 1 2 .

the Arts ( S y r a c u s e ,

n e l l ' E u r o p a sud-est',

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).

of the Celtic

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',

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

NG.

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

R i t e n des Ostens u n d

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

dans la liturgie,

der Kirche,

i i i , 1987, and L a

1971; for the views of early medieval writers see Ekenberg,

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.

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

severely

restricted.
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

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
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,

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 .

C h e s l y n Jones et al.

1.2.

L I T U R G Y

1978,

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

a n d t h e n a t u r e of

the

2. Liturgy

and

Worship

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

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

Last

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 .

604).

T h e sense of divine history to which I have just alluded affects the character and
content

of the liturgy according to the time of year. T h u s ,

c o m m u n i o n does not vary in essentials

readings,

and also the

although the act of

from one day to the next, the

texts of the chants

vary

in accordance

prayers,

with a cycle

of

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

2. Liturgy

and

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,

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

text suitable for almost any saint: Confessio

etpulchritudo

(from Ps. 96): ' G l o r y and

worship are before h i m : power and honour are in his sanctuary',

and indeed this

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

communicant

would

merely

being the priest.

have been displayed to those present,

T h i s sort of variation in practice

the only

obviously has

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.

(See

the account

of allegorical

interpretations of the mass, and a rapid sketch of the changes in the character of the
ceremony, in J u n g m a n n 1962, Missarum,

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

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,

ecclesiasticis

officiis,

see

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,

ideas and liturgical music,

see

'Trinitas'.)

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

these things! T h e reader

is urged,

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

lucis ortu sidere,

changes its melody

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

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

Kalendae,

the first day (originally the first day of the new moon), backwards. T h e time of the full
m o o n was the Idas,
Nonae.

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

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

important

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

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
Sunday).

It was a vital part of the Carolingian ecclesiastical

H r a b a n u s M a u r u s ' treatise De

computo,

of 820,

reforms, as witness

revised from previous versions

(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.

Sunday there are

seven weeks,

fifty

days,

until the

Sunday of

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

whether

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).

Office books, however,

specific dates of the calendar,

usually tied the Sundays to

and it was the early S u n d a y s that were omitted if

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

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 .

It had

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 ) ,

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

September).

T h e liturgy d u r i n g these days is

somewhat similar to those of L e n t .

There

are

several

other

days

description in later chapters.

Tuesday,

and Wednesday

of special

observance,

which require

separate

A m o n g these are the Rogation D a y s , the M o n d a y ,

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

The

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,

F r i d a y , Saturday outside the

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

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

peculiar to the

particular church for which the book is compiled.

F r e r e (1930) is an account of how the cycle of sanctoral

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

come

the

dominical letters for each date. After that is given the date not in m o d e r n but in
R o m a n fashion, beginning with a large K L for the Kalendae,
NON

before I D (Idus),

(Nonae),

and before the Kalendae

then the days before

at the b e g i n n i n g of the

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'.)

T a b l e 1.3.3. Kalendar

Corpus Christi College

for October:

Cambridge,

391

* denotes material added i n a later hand

A[E]QUAT E T OCTOBER SEMENTIS TEMPORE LIBRAM

xvi

2
3
4
5
6

xiii
ii

B
C
D
E

7
8

NON

Sancti M a r c i pape. M a r c e l l i et A p u l c i .

xviii

viii I D

* 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

vii

B
C

vii
vi I D

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.

XV

D
E
F

10
11
12
13

iiii

KL OCT

vi N O N

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.

iiii N O N
iii
ii N O N

iiii I D
iii

* 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 U u i l f r i d i episcopi. * l c . x i i

14

xii

15
16
17

ix

B
C
D

18

ii

ID

IDUS

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)

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

19
20
21
22

xvii
vi

23
24
25
26
27
28
29
30
31

iii

xiiii

xi
xix
viii
xvi
v

E
F
G
A

xiiii
xiii K L
xii
xi K L

B
C
D
E
F
G
A
B
C

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

kalendar,

Katherine,

is given

in T a b l e

1.3.4.

Some

N i c h o l a s , T h o m a s of Canterbury) became

of these

feasts

(Margaret,

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.

T H E DAILY

R O U N D

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

consecutive days, then usually Vespers of the second feast took precedence.

fell on

4.
T a b l e 1.3.4. Saints

widely celebrated

JANUARY
14
16
20
21
22
25
28

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

FEBRUARY
2
5
22

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) *

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 *

* not
AB
AP
BVM
D
EP

in
=
=
=
=
=

The

Daily

Round

in the Roman
AU
1
3
6
10
15
24
29

Church

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 *

SEPTEMBER
8

N a t i v i t y of the B V M

14
21
22

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 *

29
30

M i c h a e l the A r c h a n g e l
Jerome D *

OCTOBER
9
18
28

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 *

NOVEMBER
1
8
11
22
25
30

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

DECEMBER
6
13

Nicholas E P *
LucyV&M

21
26
27
28
20
31

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

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

c.

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,

whose

main constituent

was the saying of three

groups of

penitential psalms, each group introduced by a prayer (oratio);

(v)

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

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,

217,

based o n K n o w l e s 1951). T a b l e 1.4.1 shows the usual timetable at eleventh-

century 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

contemplative services,

unique forms.

Whereas

the office hours

are static,

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,

horarium

at Cluny in the late eleventh

century

(after

101-3)

Winter

Summer

(extra L e n t e n observances i n brackets)

T r i n a Oratio

T r i n a Oratio

last 32 psalms
Night

Night

office

4 psalmi fam

Mares

office

2 or 4 psalmi

familiares

(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

IMIUIS

extra p s a l m o d y

2 or 4 psalmi

4 psalmi

T r i n a Oratio

familiares

familiares

(2 psalms prostrate)
Prime

(at d a w n )

4 psalmi

familiares

Prime

(at d a w n )

2 or 4 psalmi

familiares

(2 psalms prostrate, 7 penitential psalms)

Litany

Litany

4 psalms

7 psalms
Missa

matutinalis

Chapter

Chapter

' p r i v a t e ' masses

'private' masses

Terce

Terce

4 psalmi

2 or A psalmi

familiares

familiares

(2 psalms prostrate)
Missa

matutinalis

Missa

maior

Sext

Sext
4 psalmi

familiares

2 or 4 psalmi

(2 psalms prostrate)
Litany
Missa

maior

m i d d a y meal

m i d d a y meal

None

None

4 psalmi

familiares

(2 psalms prostrate)
Vespers

Vespers
4 psalmi

familiares

(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

e v e n i n g meal

( V i g i l s of the D e a d )
Compline

Compline

T r i n a Oratio

T r i n a Oratio

familiares

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

allotted

to office hours, fecial

cursus

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

substantial

below begin with the

musically,

N i g h t Office, because it is the

distinguished from the

other services by

its lessons

most
and

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.

MASS

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

in L e n t ,

in A d v e n t , Benedictus

Omnipotentem

semper

September. M o d e r n practice has Benedictus

adorant

es in
V . Et

firmamento

V.

benedicunt

in

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

the

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

(those undergoing preparation for baptism), which would previously

have taken place here.

nevertheless,

the

T h e change in the character of the liturgy is noticeable,

entrance

ceremonies

having been

succeeded

by

lessons

and

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 .

was

Further

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

priest

( 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
was

sung

during

postcommunion

the

prayer

clearing-up
of

actions,

after

thanksgiving (proper).

which

the

During

priest

the

intoned

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

of

the
the

Populum

(literally 'over the people'), d u r i n g L e n t .

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

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 ,

was

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

lingua

IS

a n d Tan turn ergo sacramentwn

gloriosi).

( t h e fifth

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

pat rem

a n d the Apostles' Creed

were said silently.

omnipotentem)

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

meum

intende

R . Domine

ad adiuvandum

me festina,

w i t h Gloria,

in

which

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

I n v i t a t o r y p s a l m ( P s . 9 4 , Venite

annuntiabit
exultemus

laudem
Dominum)

tuam.
w a s s u n g , w i t h its

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 =

Gloria

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 ,

o p e n i n g Deus

in adiutorium,

like

the

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 .

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

(except

n o c t u r n (on some days the o n l y

d u r i n g the

Easter

season),

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

from

(comment-

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:

A , P s , G l , A s i x times

or:

A , six Ps, G l , A

S u n d a y s a n d feasts:
first

nocturn:

A , Ps, G l , A s i x times

second n o c t u r n :

A , Ps, G l , A s i x times

third nocturn:

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

laus

was sung, then

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 .
In

some

early

antiphoners,

for example

the H a r t k e r A n t i p h o n e r (St

Gall,

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 .

(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

T h e r e followed five psalms, either

in adiutorium.

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
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 .

(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

A s mentioned above (1.4),

Vespers on most

Sundays and important

feasts was

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

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
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,

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

Secular

Monastic

Sunday
Monday
Tuesday
Wednesday

109-13
114-16,119-20
121-5
126-30

1 1 3 - 1 6 , 128 (115+116 as 1 psalm)

129-32

Thursday
Friday
Saturday

131-2, 134-6
137-41
143-7

109-12

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 )

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

Blessed

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.

In

Easter week, however, Ps. 90 fell out of the cursus, and the N u n c dimittis was m o v e d
to take its place. T h e r e followed the Easter gradual Hec

dies V . In resurrectione

tua

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 .

(viii) Prime,

Terce,

Sext, and

None

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

three psalms with only

one

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

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

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),

(actually four sections of

and short responsories were not usually sung, but otherwise there was little

difference from secular arrangements in the Little H o u r s .

1.7.

PROCESSIONS

Bailey 1971.
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

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 ,

therefore,

in medieval

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,

60 f f . t h e processional ceremony apparently derives from Byzantine usage).

The

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

nos Deus,

with an intoned psalm verse Salvum

often accompanied this action, and also ceremonial antiphons such as

habitu

in cinere

et cilicio

me

fac,

Immutemur

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

Emendemus

('Let

in melius

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,

there and back,

ceremonial

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

responsories,
responsories

or

poorly

of 1893

has long been a useful source for the

represented

antiphons

(the

in

terms

modern
seem

editions).

often

to

Several

have

been

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

Roman

practice. T h e y were frequently long chants in ornate style, sometimes with a less
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.

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

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

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

W E E K

to the

awe-

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.

(i)

General

T h e ceremonies

of H o l y Week are among the most ancient and universal of the

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

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,

1.7.)

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,

must of course first be blessed, consecrated

for the purpose. T h i s was

c o m m o n l y done to the accompaniment of the short ceremonial antiphon Hosanna

filio

(without verse), with prayers, sprinkling with holy water, and censing. T h e

David

consecrated
sung,

palms were then distributed, while verses f r o m Psalms 23 and 46 were

with

the

antiphons

Pueri

Hebreorum

portantes

and

Pueri

Hebreorum

after every pair of verses. T h e gospel might then be read, before the

vestimenta

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

and Gloria

pontifices

laus

et honor.

V . Unus autem ex ipsis,

Dominus,

Cum

audisset

and the refrain-hymns En

T h e antiphon Ingrediente

Domino

V . Cum

rex

audisset

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

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

novum,

gave its

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,

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

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

usual one,

however,

Jeremiah

although

the

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

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

west

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
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:

' 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

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
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.

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

the w h o l e

procedure

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

first

be blessed),

borrowed

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

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,

with

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

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

to

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

somewhat apart f r o m the rest of the repertory, as do the 'cantica' of H o l y

stand

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.

In both chants,

some sort of

alternatim scheme was used for the performance, either between soloist and choir or
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

. . .

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

fortis

athanatos

c h o i r 2 : Sanctus

eleison

immortalis

miserere

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

imas

. . . Sanctus

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

nobis

eduxi
ultra

. . . Sanctus

te per

desertum

. . .

. . . (etc. as b e f o r e )
debui facere

tibi . . .

. . . (etc. as b e f o r e )

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

meus

( 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

meus

. . .

cantors of c h o i r 2 :
f u l l : Popule

meus

V2
. . .

a n d so o n
T h e a n t i p h o n Crucem
misereatur
Pange

nostri.

lingua

tuam adoramus

gloriosi,

fidelis

V I Pange
Crux
Crux

V.

verses:

(complete)
lingua

fidelis

V 2 De

fidelis

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
Crux

vtrstDeus

was then sung, w i t h s i m p l y intoned

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

(first

part)

parentis
fidelis

V 3 Hoc

(second

part)

opus

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.

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

difference of the Blessed S a c r a m e n t ,

a n d the ritual was said rather t h a n s u n g , except

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

to

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

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

host

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

1933,

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

Easter

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

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,

the

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 ,

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

times

at s u c c e s s i v e l y

the

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

rutili

found in Sarum

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

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

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
the descent

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
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

bonus a n d t h e t r a c t (or c a n t i c l e ) Laudate

or

Agnus Dei

or

c o m m u n i o n chant.

Dominum.
A s on

the

V . Confitemini

Domino

T h e r e was no offertory
previous days,

Vespers

9. The

39

'Feast of Fools'

intervened before the final formularies of mass, having but a single psalm, Ps.
Laudate

with antiphon Alleluia.

Dominion,

116

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
sung.
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

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

1944;

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).

Within

the choir itself, leading singers were detailed to sing solo parts of those chants which
required them. T h e number of leaders (or rectores,

'rulers', as they were sometimes

called) reflected the solemnity of the feast, more soloists (up to four) indicating the
most

important

rank of feast (see H a r r i s o n 1963,

information, again about English

51 ff. and 104 ff. for useful

arrangements).

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,

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

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,

Madrid,

and 19421; the Aquitanian tropers and song-books

Bibliotheque Nationale, lat.

1139,

3549,

and 3719;

and the

song-books

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

vivid,

even

disconcerting

impression.

Perhaps

if

we

try

to

imagine

correspondingly exotic irregularity in the ceremonial action and the visual presentation of
the liturgy, we may be better able to appreciate

the

reasons for the

episcopal

displeasure evidently aroused f r o m time to time. W h e n the thirteenth-century

ordinal Bayeux,

Bayeux

Bibliotheque M u n i c i p a l e 121 says that the four special Christmas

feasts are to be celebrated ' q u a m sollennius possunt' (ed. Chevalier 1902, 65, cited by
A r l t 1970,

48;

1978,

7) the term used, 'as solemnly as they [the clergy] are able',

should not be interpreted in the modern sense as 'serious, sober'. T h e

sollemnis

adjective

is conventional in ordinals as an indication of the character of the liturgies of

feast-days,

and should rather convey the idea of ritual splendour, richness,

and

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:

O R D I N A T I O N ,

BAPTISM,

C O R O N A T I O N ,

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

M A R R I A G E ,

BURIAL,

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

Regular item

Addition

Replacement item

No.
Verse Lux hodie
Conductus 'when the ass is
brought along', O/ientis
partibus
Versicle Deus in
adiutoriuni
['Alleluia' acclamation after

Alleluia \ eni sancte spin tits,

'Amen']

'or \ enidoctorprevie

with

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

Ps. Beatus vir

12

A . Virgo hodiefidelis

13

A.

Ps. De profit ndis

Nesciensmater
Ps. Memento
14

Chapter Popitlus gentium

15

R. (\jnfi una turn est cor

'in the pulpit with organum'*,

with supplementary trope

virginis (no V . given)

verses, one series set out as a

prosula performed alternatim
texted by leaders and
melismatically by choir

16

[hymn]

sequence I^etabundus exultet

fidelis chorus

17
18

A . Guide terra

19

[Benedicamus versicle]

verse Ave virgo speciosa

Magnificat
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

the

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

the

took place w h e n

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

V . Domine

secundum

V . Adiuva

ne memineris

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

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 .
w o u l d be

accompanied

by the

professionare

intoned forms delivered by

the

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

more

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

full

preface

prayer,

a s e r i e s of

interrogations,

blessings

of

the

b a d g e s of

office

( 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

ceremony,

divine right,

their coronation

was

a full-scale liturgical

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
tua)

manus

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

anointing with
Sadoch

oil w o u l d have

sacerdos)

their ceremonial

a n d t h e s i n g i n g of the T e

antiphon

(Unxerunt

D e u m was a constant

Salomonem
feature

of a

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

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.

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 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

eternam.

Dei

te V . Requiem

V . Suscipiat

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

sancti

was s u n g .

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

me Domine,

w i t h several verses.

Versicles and

begins
prayers

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
paradisum

In

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

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

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

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

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)

The

(Zachee

and an antiphon

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

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

po?'tas,

est terra

is a l s o s u n g ,

and this a n d the other final verses p r o v i d e

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

alphabets

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
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,

ashes,

10).

water,

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

by m a r k i n g syntactical units w i t h typical melodic gestures:

responsories,

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
sections

are

about

chants

which

generally

use

free-ranging

melodies

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 ,

of v a r y i n g
processional

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

hymns

sections

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

promising

m a y have

the same (pentatonic

computer-assisted

analyses

have

or tertian) tonal backbone.

been carried

out, o n very

(Other

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

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.

Then

Dominus

II.

48
Ex.

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.

Choir

A-men.

Boy

Benedicamus domino.

Choir

De-o

Excita quesumus ... per

omni-a secula seculorum.

(Priest and Choir 'Dominus' and

'Et

cum'

as above)

1
vobiscum

eracias.

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

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

a n d its
cadence.

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
and

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 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.

S o m e t y p e s of c h a n t o n e

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

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

and

musically

one

sophisticated

recitation

formulas.

Even

these,

however,

retain

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 ,

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 .

since

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 ,

are a m o n g t h e v e r y earliest

chants

found with musical notation.

(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

first

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
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

Liber

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

Preface

(There

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

final

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 :
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)

for

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
be m a d e (ab b).

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

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 h i c h w i l l settle o n a (aG,

Ga

b ab

a).

Practically

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

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

Univ-Bibliothekl
) Regensburg \

f o r a s u m m a r y of

available

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

Vere dignum et iustum est

equum et

est.

salutare

nos tibi semper et u-bique gratias a-gere

domine sancte pater omnipotens e-terne Deus

qui inuisibili potenci-a

(two

sacramentorum tu-orum

more phrases, then)

Deus ... (final clause)

in nouam infanciam

mirabiliter o-peraris

effectu

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

Ut omnis homo hoc sacramentum regeneracionis

ingressus in uere innocentie

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

Paris Bibliotheque Nationale lat. 1112

E-xul-tet

iam angelica turba celorum

f.96

E-xultet

105

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

i * " # -p-

e-xultent diuina misteri-a

^,

Graduale Sarisburiense

e-xultent diui-na

miste-ri-a

life:

rffeft

et pro tanti regis uictori-a

et pro tan-ti

tuba intonet

tu-ba

salutaris.

re-gis

in-tonet

uic-to-n-a

sa-lu - ta

ris.

Vere qui-a dignum et iustum est

V e - re qui-a dignum

inuisibilem Deum patrem omnipotentem.

inuisibilem Deum omnipotentem

-* *
f

que expoli-a-uit

di-ta-uit

nox

be

E-gypti-os

que expoli-a-uit

He-bre-os.

-w# ;
Nox

et

iustum est

patrem.

4L c

O ue-re be-a - ta

Graduate

di-ta-uit

in qua terrenis celesti-a

a-ta

nox

E-gypti-os

Hebre-os.

#
iunguntur.

Nox in qua terrenis

celesti-a

lun-gun - tur.

-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 -

c e n t u r y Y o r k processional. A s w i t h most

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

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',

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,

MGG.)

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 ,

The

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

Domi-ne

mise-re-re,

Miserere nobis pi-e

Chri - ste

Christe -

ley-son,

au-di

Sancta M a - r i - a

Sancta D e - i

Christe miserere.

rex

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

nos.

o - ra pro

no-bis.

ge-nitrix o - ra pro

Sancte G a - b r i - e l

ley-son.

o - ra

pro

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

no-bis.

no-bis.

Omnis chorus angelo-rum o - ret

pro

(Domine miserere as above)

(Miserere nobis as above)

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

' P a t e r n o s t e r ' , MGG,

Lord's Prayer

(see

for various m e l o d i e s ) .

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

L e o n Robert

1963,

127,

and

A widely known melody

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 ,

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

is

Cambridge,
reciting

prominent.

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

F i - a t uoluntas tu-a

da nobis hodi-e.

(iii)

sicut in celo

ribus nostris.

sanctifi-cetur

Et
Et

et

nomen tu-um.

in terra.

Adueniet regnum tuum.

Panem nostram c o t i - d i - a - n u m

dimitte nobis debita nostra

sicut et

ne nos inducas in temptaci-o-nem.

nos

dimittimus debi-to-

Sed libera nos

a malo.

Amen,

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

figures.

without

T h e l o n g e r l e s s o n s of

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

fifth,

the
for

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,

full-stop

figure

or

d-F-G-D

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
Roman

books

( 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 ,

see

figures
Stablein,

in modern
'Epistel',

MGG):
metrum:

a-c-b-b-c

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,
full-stop:

a-b-bc

cd-b-d-b

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

final

i n f l e c t i o n , t h e n a fall to b

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

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

-0-

In illo tern-pore

Conuersus Pe-trus

secundum Jo-hannem.

Dixit Ihe-sus Petro.

et dixit.

9^

di-cit

Domine hie autem quid?

me.

uidit ilium discipulum quern diligebat Ihesus sequentem.

Hunc ergo cum uidisset Petrus

0 0

domine.

Se-que-re

Qui et recubuit in cena super pectus e-ius

Glori-a ti-bi

Dicit e - i

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

Domine quis est qui

Ihesu.

Ihesus.

r
quid

ad te?

Tu

me

sequere.

tradet

te?

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

reached

sometimes with

and FGa-GE-D-E,

until the

conclusion of the lesson.

T h e intoning of the Passionthe

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

also

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

also

to

be

found

occasionally:
c =celeriter

('quickly'), later cronista

m = mediocriter
t =trahere

or media

or tenere

i iusum,
s = sursum

('evangelist') or

('slow, sustained'), later written as a cross for Christ

inferius

('at a lower pitch') and b = bassa

('at a higher pitch'), later synagoga

a = alta
high')

cantor

('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

('the people') or

('high voice') is f o u n d , and sometimes Is = lev are

for the people is contrasted with Im

= levare

succentor
sursum

mediocriter

('raise
('raise

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

passion in the source;

furthermore,

10, T a f e l 61.2,

where the 'parts' are marked

after c o l . 960this is the only

only the parts for the singers other than

the

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,

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',

MGG).

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 .

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

1975

(late Spanish sources).

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

provenance

(it h a s e l e m e n t s

of b o t h R e i m s

a n d Paris usage),

Assisi,

B 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
be

called recitations

any longer,

t h o u g h they

are o f c o u r s e

adaptable

by

note-

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

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

Abraham.

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.

... Iacob autem genuit Ioseph uirum

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

9

Mari-e

**

"

De qua natus est Ihesus qui uocatur Christus.

58

//. Chant

Genres

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 )

r

.. Qui fuit Dauid,

qui fuit Ihesse,

... Qui fuit Na-ason,

(i)

qui fuit Aminadab,

qui fuit Bo-oz,

qui fuit A r a m ,

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

11.3.

(ii)
(iii)
(iv)
(v)

qui fuit Obeth,

qui fuit Salmon, ...

qui fuit Esrom,

A N D O T H E R

qui fuit Pharens, ...

C H A N T S

Psalms
Other
Tones
Tones
Tones

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,

and

thus

to

(differentiae,

diffinitiones)

pitches

w h i c h the

with

M e d i e v a l sources

a different

fifty

tone.

times, nearly always w i t h a different

For

most

tones

a variety

of

cadences

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

different
psalm.

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

even

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

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 )

v

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

f*\

2-

mm

et

in

secula seculorum a - men.

||

^>

mm
m

m
9

rm
m

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

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 M *l

&

et in secula seculorum a-men.

et in

secula seculo-rum

a-men.

4.

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

et s p i r i - t u - i

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

-fl

*L#J

sancto

et in secula secu-lorum

1*'

*%.

a-men.

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

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

cadence

for Custodiebant testimonia

et spiritu-i sancto

Sicut e-rat in principi-o et

nunc et semper

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.

et in secula secu-lorum a-men.

7.
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

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

et spiritu-i

et in secula seculorum a-men.

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

amen

(usually abbreviated ' e u o u a e ' ) . A t the end of the cadences for tone 4 is one for the
antiphon Custodiebant

testimonia,

a chant which requires both b and bb and which

must therefore be notated with final on a instead of

E.

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.

For

example, in the antiphoner K a r l s r u h e , Badische Landesbibliothek, A u g . perg. 60, for

Vespers of Christmas we find as first antiphon Scitote

quiaprope

(LU

365, A M 237),

mode 8 antiphon (see E x . II.3.2). It is followed by a text incipit for Ps. 112,
pueri,
to

the

Laudate

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
performers,

the

monastic choir

of

Petershausen

on

the

shore of

Lake

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

cadence.

M o d e r n b o o k s s u c h as the Liber

Antiphonale

Romanum

and

Antiphonale

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

monasticum
adapted

usualis,

for each

verse

of t h e

syllables where a change

psalms,

whose

t e x t s are

be

marked accordingly:

the

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

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
as t h e Commemoratio

brevis

de

tonis

et psalmis

of t h e n i n t h t o

modulandis

tenth

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

have

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

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
to

F:

E x . 11.3.3. Cadences f r o m the Commemoratio

fecit dominus

brevis (ed. Bailey, 1979,

sanctum e-ius

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 ,

52-3)

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

t h e n b o t h the m e d i a n cadence a n d the

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

final

adustments:

. . . et f i - l i - o

. . . spi-ri-tu-i san-cto

. . . n u n c et s e m - p e r

. . . se-cu-16-rum. A - m e n

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

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

a n d 8, b u t i n t h e

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

final

cadences

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
C o n n o l l y ( ' P s a l m , I I ' , NG).
('Psalm,

B ' , MGG).

Both

Commemoratio

brevis.

(ii)

Tones:

Other Psalm

Erbacher

1971;

Bailey

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

the Parapteres,
1977-8;

draw upon both

Tonus peregrin

Atkinson

1982,

the

Vatican edition and

the

us

'Parapteres

\ Atkinson,

'Parapter',

HMT.
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.

Seculorum

It

is not

(paracteres,

a-men.

the only tone

medii

toni,

of this sort.

A number of them,

etc., possibly from Greek para

+ apto,

called

'parapteres'

'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

' T h e m e 29', w h i c h , as the tenth-century treatise De modis

musicis

puts it, 'are not

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

Cantate domino canticum nouum

salutare su-um

alle-lu - ia.

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,

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

( i i i ) Tories for

Nos

comes f r o m this p s a l m .

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 .

In

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

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

Benedic a-nima me-a

In te

Et

domino

et omni-a qui intra me sunt nomini

domine speraui non confundar in e-ternum

Petrus ad se con

- uersus dixit.

first

186 )
r

sancto e-ius.

in iustici-a tu-a libera me et

e-ripe

me.

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

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

is u s e d f o r

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

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

' ( 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

figure

is s p l i t . T h e m e d i a n

abcaaG

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

et

Audite
v

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

expectamus,

verburn,

( 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 )

so - lis

-mus

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

in psalmis iubi-

or-tu et

-le-mus

oc-ca-

-su

-ne

et

e-

-ne

-i.

3^3
ab a-qui - lo-

"

Tol - l i -

-te

m m >
l

ma-

m m m m

-ri.
m m m

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

-bit.

e-ter-na -

les

a n d Ecce

Preoccupemus

a n d Tollite

liquescent

couple

of

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

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,

portas

neumes

i n Preoccupemus

Ecce

with

accented

\ 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.

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
final

and

with

syllables

T h e second half of

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

figure.

The

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

virgo!).

verses

have

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.

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 .

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;

A G;
r

Cutter,

'Responsory',

NG;

Processionale

monasticum,

(Copies f r o m

Connolly, 'Psalm
and A S ,

the

II',

latter

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

but

not

all toneswhether

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

verseshave a rising intonation and a falling cadence.

of

responsory

Several rising cadences

(the

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 .

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
falling openings.
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 .

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

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
r e s p o n s o r i e s (AS,

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 ' ,

MGG,

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

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
millennium.

( v i ) Tones for
Frere i n AS;

the Invitatory

Psalm

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

Steiner, 'Invitatory',

NG.

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 ,

usually
Venite

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

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

VIII.6).

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

are

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.

In the fourth phrase there are again two reciting notes, c at the

beginning, then a, as in phrase 2, while c is the most important note in phrase 5. T h e

mutual attraction

of a

and c is discernible throughout. T h e

figure

a-Ga-c-b,

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

Preoc-cu-pe-mus

Et

domino

fa-ci-em

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

e - ius

in psalmis i u - b i -

-le - mus

sa-lu-ta-ri

nostro.

in confes-si - o - ne.

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)

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

Weeks
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

es s u n g

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

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

Schlager, ' T e D e u m ' , MGG;

L i k e the

G l o r i a of t h e

Steiner, ' T e D e u m , 1-2',

mass,

the T e

NG.

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

text is a

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

finally

verses

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

discussion. T h e

position with

G-Efy-E).

i n s t e a d of

r e c i t i n g n o t e a,

final

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

E,

for the

purposes

modified for

of

individual

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 :
-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:

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

II

C-E-F--a-F-GFE-E

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

versions.

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

OFFICE

Introduction

(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)

Introduction

The

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.

monasticum

The

Liber

responsorialis

contains

over

300,

the

Processionale

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

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

r o o m for excursions

into

foreign

territory.
Frere

used a system

p o s s i b l e (cf. AS,
use)

the

second

of l a b e l l i n g c a d e n c e s w h i c h

I have f o l l o w e d here,

where

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
phrase

ends

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

o n E,

whereas

i n the

Klosterneuburg

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

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 ,

t h a t is

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 ,

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

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

(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
four notes, 'ait' an extra

five.

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

of

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).

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

I n f r o n t of t h i s , t w o of t h e

phrase w h i c h
responds

have

is
a

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

the

final

phrase.

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'

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,

one

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 .

II.

72
Ex.

II.4.1.

Genres

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 )
v

-i**-"
La-pidabant

Stephanum

Videbant omnes

Chant

"

in-uocantem et di-

Stephanum

qui

erant in

-cen - tern

con-

-ci-li-

In-tuens

in ce - lum

Pa-tefacte sunt ianue c e -

be-

-li

-a-tus

Stepha-

Christi martyri

-nus

be - a - to Stephano

d o - m i - n e Ie-su

C h r i - ste

ac-cipe spiri-tum meum

4^ et in-tu - e-bantur

e - ius

tanquam uultum ange - li

n

ui-

qui
^1

uul-tum

-dit glori-am De - i et a -

in nu-mero

& ,
v
+>
et ne s t a r

-rum
cl

ecce u i -

m m* mm
9

-deo

in-uen - tus est

-tuas

1 i ; -ft fr

et f i - l i - u m ho-mi - nis

~PTTdi~
Et

a-

pri-

^ ?

-per - tos

-mus

**'

i-deo t r i u m phat in c e -

hoc

ad

**e

1 *

'yiffi

stan-

-tern a dextris

t "

-ca-tum

uir-tu-tis

il - los

/,# g>
De - i

V
1

- f l ' V v

co - ro-lis

* * # v g#

pec-

stantes in - ter

L
^t-

ce-los

/^ o #
^
i l - -lis

J?
fo
r

gm^m

9m

sancto-

-it

-na-tus

>

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 .

T h e choir apparently sang very little of t h e

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

c r o s s e s as t h e y

appear

i n the L u c c a manuscript,

although the K l o s t e r n e u b u r g

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

10th c e n t u r y t h e w h o l e r e s p o n d

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

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

figures

reserved for accented syllables.

(iv)

Centonization

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

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

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

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

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

3),

follows

categories.

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

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 .

It

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 '
u s e d it to d e s c r i b e

the

w o r k of S t

Gregory himself:

'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

and

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

excerpts

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 ,

example

for

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

SUSCIPE
'Domine,

SPIRITUM

MEUM.'

Positis

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

INVOCANTEM E TDICENTEM:

autem

genibus, clamavit voce

'DOMINE

magna,

JESU,

dicens:

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 ,

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

FILIUM HOMINIS

STANTEM ADEXTRIS D E I . '

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

Laurence

a' in mode

2,

i n Passiontide,

the summer

( A S , Introduction, 7). Nevertheless,

Histories, and for

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

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

(i)

on

.iv).

II.5.

(ii)
(iii)
(iv)
(v)
(vi)
(vii)

the

and placed t h e m w i t h the sections

G R A D U A L S

A N D

T R A C T S

Introduction
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

G r a d u a l s a n d t r a c t s are

m o r e ornate

chants

than responsories,

b u t m u c h of

the

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
s h a r i n g the same m e l o d y .
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

(Gesang)',

MGG)

t h e y b r e a k d o w n as f o l l o w s ,

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)

15

E ( m o d e s 3 a n d 4)

11

(mode 5 only)

46

G ( m o d e s 7 a n d 8)

15

a ( ' m o d e 2')

24

doubt):

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
H u c k e , ' T r a c t ' , NG)

are e v e n m o r e

selective:

I) (mode 2 only)

G (mode 8 only)

15

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

throughout

of the respond after the verse.

(a practice

sometimes

Tracts

referred to as 'direct

were

but with a

sung by soloists

psalmody'), without any

section repeats.
Amalarius of M e t z (Ordinis

?nissae

expositio

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.

This

pitch is usually reckoned as representing an upward transposition of a fifth f r o m D (in

order to avoid writing low Hb and both /*' and

/*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

Tecum

conveniently includes nearly all the musical material of the 'Iustus ut

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

F l ; both appear here, with a linking phrase c l . Haec

opening phrase ( A 4 ) , then c l , F l , and A 3 .

dies,

however, has a different

78

//.

E x . I I . 5 . 1 . G r a d u a l Tecum principium

Chant

Genres

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

At

Tecum principi-

-f^ 2

JL

IJJ

mm m

in splendori-

ex

-urn

u - te

in

>

MM *M+9 M

di-

-e

''m'M m
M

-bus sancto-

uir - t u -

-tis

1
*

-rum

ro

an - te

tu-

-e

-ferum

lu-ci-

A3

ge-

-nu-i

te.

Dixit do-minus do-mino

me-

A*> g
9

se-

-de ad dextris

me-

Cto

do-nec po - nam

in - i - mi - cos

sca-bel-

-lum

tu-

-OS

pe-

-dem tu-o

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

principium,

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

omnem

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

and occasional

t o u c h e s d o w n to a,

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

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,

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
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,

( i i i ) Graduals

in

d, a n d e r e s p e c t i v e l y .

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

F.

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

similar. T h e

verses

are

est,

Exiit

and

sermo,

m o r e easily assignable

to

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.

Apel

discerns eight g r o u p s i n a l l , w i t h several other graduals

not

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

a n a-,

or a c-phrase.

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 ,
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.

whereas

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

bb

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

already

noticed

permeates

these

genres.

graduals

Secondly,
as

well.

the

ornamental

Somewhat

more

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

nostra

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

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
E x . I I . 5 . 2 . F r o m G r a d u a l Anima
fo. 17 )

et nos l i - b e - r a -

"

-ti

"

-strum in no-mine

'
do-

in

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

figure

su-

-mi-ni

-mus

* '

h
ad-iu-to-ri-um

qui fecit celum et

ter -

ram.

*
no-

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

(iv)

Other

manuscripts.)

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 )

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

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

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 .

omnes

has a n example w i t h A A B f o r m i n its verse.

Viderunt

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

have

i n m o d e 8 h a v e u p t o five v e r s e s ;

the three m o d e 2 tracts

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

me ( c o m p o s e d a f t e r t h e

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
Deus

Deus

meus

has 13, a n d

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

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

Deus

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

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 ;

three

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

(see a b o v e ,

I.8.v);

they m a y even be

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

much

shorter

than those

of the other

lessons).

T h e fourth tract,

Sicut

ceiuus,

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 .

(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

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

sections, cadencing o n D , C , F

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

small

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
a n d Domine

audivi
The

variety

of

Deus

meus,

Qui habitat,

a n d Eripe

me,

the other used i n

Domine

exaudi.
procedure,

within

the tonal

guide-lines

indicated,

is

quite

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.

F,

(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

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;

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

Commovisti.

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

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

84

II.

E x . I I . 5 . 4 . T r a c t Iubilate

Chant

Genres

omnis terra (Paris, B i b l . N a t . lat. 776, fo. 32 )

Domino

S*

Fx

v.i
Iu-bi - l a -

-te

ser-ui - te

V.2

do - mino

do-mi

om - nis

no

in

terra

lae-ti-

fit

In - tra - te in conspectu

e-

-ius

in ex - ul - ta - t i -

-o-

-ne.

V.3
Sci - to - te

quod

do-mi - nus

ip - se

est

de-

3=

V.4

Ip-

nos

-se

fe

cit

nos

au-tem po - pulus

et

e-

non

ip - se

nos

-ius

9*

et

o-ues

pas-

-cu

e-ius.

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

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

first

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

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

their

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 ,
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 ,

flexes

a n d m e d i a n t s , a n d so o n . S u c h a n

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

down

to

some

sort

of b a s i c

tone,

a n d see

the

tract

as

the

result

of h i s t o r i c a l

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

but musically characteristic

e n o u g h of

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.

S H O R T

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

R E S P O N S O R I E S

C l a i r e 1962,

1975.

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)

prolixa),

much

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 .

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 ,
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 .
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

R. Super te Ierusalem

-fl

(fa

W- *
V . Et

~Q

L\l *1

glori-a e-ius in te

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

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

f-i

fi-li-o

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

ui-debitur.

^
R.

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

et spiritu-i sancto.

~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

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
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

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:

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

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

. . .a . . .b

Respond:

E x . 11.6.2. Short responsory Resnrrex it Dominus

R.

Resurrexit

do-mi-nus

V.

Sic-ut di-xit uo-bis

#
Glo-ri-a

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

al-le - lu - ia

al-le - lu - ia.

al-le - lu - ia

al-le - lu - ia.

patri et f i - l i - o

et s p i - n - t u - i

sancto.

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

vera

and Notum

fecit dominus

(Gevaert theme 39) had given

rise to the melody of E x . 11.6.2. Claire's work has tended to suggest the opposite: that
the short

responsories

preserve

relics of ancient

melodic types,

and families of

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

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.

A N T I P H O N S

(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 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

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

repertory.

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

w h e n n o feast

drawn

from

the

intervenes.

psalms

they

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

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 ,

the

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

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

monastic

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

five

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
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

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 ) ,

are

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.

89

Antiphons

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.

A n t i p h o n s in these three categories will usually n u m b e r about

1,500

in most

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.

melodies were very popular and were used with m i n i m a l variance for

Some

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'

(see

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

musicologist Gevaert published a melodic catalogue of over 1,000

antiphons under

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,

since

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

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
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

procedure alone cannot give a satisfactory account of the repertory. ( D o b s z a y

1990,

'Experiences' has reported on a forthcoming new classification. Comparative studies

with

the

O l d Roman

repertory,

analysed

by

repertory, analysed by Bailey and Merkley 1990,

N o w a c k i 1980,

and the

Milanese

will undoubtedly shed further light

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.

7.
T a b i c I I . 7 . 1 . Antiphon

themes or prototype

Antiphons

91

melodies

Prototype ( H u g l o )

N u m b e r of themes

Mode

Gevaert
D (Protus)

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

authentic
plagal
either

1
2

authentic
plagal

3
4

authentic
plagal
authentic
plagal

Frere
7
4

8
3

Gevaert 9, Frere We (the

melody of the ' O - a n t i p h o n s ' )

5
3

Gevaert 29, Frere IVb

5
6

G e v a e r t - , Frere \a

Gevaert 39, F r e r e Vlb

7
8

9
7

5
19

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//

(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,

'Repons-

G 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

In this source

assigned to various psalms of the T u e s d a y cycle. Secundum

misericordiam

is an arrangement of the first verse of Ps. 50, Miserere

is the second verse of Ps. 62, Deus Deus

meus. Adiutorium

nostrum

magnam

mei. Sitivit

in te

is the last verse of

92

//. Chant

Genres

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

r

T-WSecundum magnam misericordi-am tu-am

Sitiuit

in te

Adiuto-rium

P s . 123, Nisi

a-nima me-a

nostrum

quia

miserere me-i Deus.

De-us meus.

in nomine

E u o u a e.

E u o u a e.

do-mi-ni.

E u o u a e.

Deus

Miserere.

Deus.

Nisi quia.

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

dominus.

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

basic

(aGF)

EFG

(brackets enclose notes not always present).

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,

but usually w i t h

final

o n a,

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

final

a n d r e g a r d e d as m o d e

are r e q u i r e d , w h i c h w o u l d be

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

pitch-series

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.

final

P h r y g i a n cadence

falls not o n E

but on

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,

a,
or

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

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,

539, all o n

other
E.)

examples,

presented

93

7. Antiphons

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

desideraui hoc pascha

U *s

manducare uobiscum

antequam pati-ar.

Aachen f.72v
*

*;

desidera-ui

The

'

*,

0}

pascha

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 .

II.7.3). Cunctis

antiphon, has but two phrases. Picking up the G-a

phrases, Fidelis

serous

diebus,

the psalter

opening of the second of these

brings in a central phrase, which cadences on G , in between

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

enim

b-G

steps at

this happens in the

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

sum.

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,

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

B

and

are

settings

of

'alleluia',

making

an

intermediate

and

final

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,

113-

16; 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

Cunctis di-e-bus uite nostre

540

saluos nos fac domine.

Fidelis seruus et prudens

454

Herodes enim tenuit

55

quern constitu-it dominus

et ligauit Iohannem

Hie est discipulus ille

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

et posuit in carcerem

qui testimonium perhibet de his

propter Herodi-adem.

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

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
group

of a n t i p h o n s . T h e y

were

notated

i n some

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 .
Gaudeamus

omnes

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

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

mater

a n d Virgo hodie

fidelis,

o n the

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

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,

b u t phrase

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
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

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

Gaude-a-mus omnes fi - deles

409

Pro e - o

236

3.

saluator

quod non credidisti uerbis meis

=A

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

Modicum et non ui-de-bitis me dicit dominus

3H

nos - ter natus est in mundo

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

4.
Que
640
o

muli-er habens dragmas decern

^

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

usque in di-em

3.

et perseuerat pudor uirgi-ni-tatis.

na-ti-ui-ta-tis

quia uado ad patrem

a l - l e - l u - ia

Li

J)

e-ius.

al-le -

lu-ia.

Ix

4.
nonne accendit lucer - nam

et e-uertit domum

et querit diligenter donee inueniat.

5.

de uirgi-ne nasci dig-na-

-tus est

et procedens homo

s i - n e se-mi

lar-gitus est nobis suam de - i - tatem.

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

( 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

mulier

again d i v i d i n g into two units.

F i n a l l y , O admirabile

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 ,

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
f o r m as i n

Gaudeamus.

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

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

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

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

florid,

p a r t i c u l a r l y those for the

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

January),

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
the

flames,

Agnes

w e are t o l d w h e r e t h e s a i n t

is

amidst

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

97

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

504

PCF

*
Cum

*1)
*

perue - nis - set

* i * ^ P

be - a-tus An-dreas

excla - mauit et di-xit

.

i - ta ut et tu

a - nimo p r e - p a - r a t a

e-xultans

339 p c F x

Stans b e a - t a

susci-pi-as me

Agnes

e-

ueni - o

ad te

-ius qui pepen - dit in te.

9D

in m e - d i - o flammarum

ad do-minum

aiC

et gaudens

disci-pulum

*X

o - ra - bat

expan-sis

ma-nibus

CxP

omni-potens a-doran-de

co-len - de

tremende

CD

be-ne-di-co

364

(pcfaj

Stans

se-curus

x<}

Ca.D

e-rat

*xx

et iam concupiscen-ti

lo-cum u-bi crux pa - ra - ta

di - u de - si - de - ra-ta

C3.D

bo - na crux

ad

be - a-ta

te

p^p

e -

ternum.

(P>fr-

A - ga-tha

o - ra-bat ad dominum

et g l o - r i - f i - c o nomen tu - urn in

in

medi-o

car-ce-ris

d o - m i - n e le - su Christe

ex - pan-sis manibus tota mente

ma-gis - ter

bo-ne

Vet*.

gra-ti - as

a - go t i - b i

qui me f e - c i s - t i uin-cere

POP*

iu-be me domi-ne

tor-men-ta

P ^ C

ad

tu-am

in-marcessi-bilem g l o - r i - a m

car-ni-fi-cum

GAJ*

feli-ci-ter

perue-nire.

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

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

D.

final

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 :
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.

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

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 i ) a-C.

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

' 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

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

phrase.

( i i i ) a-c-a.

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

Iesu C h r i s t e ' .
( i v ) a-G.

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

flammarum'.
Although
g e s t u r e s are

the

antiphons

i n fact q u i t e

initially
simple.

appear

somewhat

S i m i l a r phrases

ornate,

(indeed

the

basic

melodic

i d e n t i c a l o n e s at

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,

the

113-14),

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
There

antiphons were occasionally

is also

a repertorial

link

d i r e c t e d to be s u n g

with

the

antiphonae

as

ante

processional

chants.

evangelium,

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

that

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,

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 .

Radix
Others

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

been

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

Quo-ni - am De-

R. Tol-

-le

-us

ar - ma tu-

rnagnus

-a

do - mi - nus

pha-re-tram

et

ar-

-cum ...

tua

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

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
more

flexible

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

does not,

of

course, occur i n all sources).

II.9.
(i)

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

A N T I P H O N S

Introduction

(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

P a l M u s 12,

13,

and

15 a n d

Vecchi

1955

may

be

consulted.)
Medieval
occasions:

books
(i)

are

likely

as p a r t of t h e

to

have

processional

antiphons

for

the

following

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 ,

and

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

altogether.

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
lengthy

melismas.

Some

have

an

equally

ornate

verse

and

were

performed

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

the

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

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

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 '

images

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

antiphons

features,

with

Roman

and

122-7).

counterparts

usually display standard

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

FE

o r baGa

Gregorian
occasional

aG),

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 )

and the same

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 .

Occasionally

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 ,
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

vos

but

demergat,

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

one,

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 '

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 ) .
Ego

sum

Ex.

Deus,

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

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
(Bailey,

convertimini

147).

sum

deus

a n d Populus

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

Sion

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
responsorial

chants.

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 .

_zsz.

E-

-go

sum

#w in

De-

uidens ui - di
-f

-us

li-

^MSM

-be

af - flic - ti

ra-

o-

-re

0-MiW

-rum

dicit

mz.

do-

- m i - nus

mmm t
-nem

/g>

MM,

vwm

pa-trum ue-stro-

163 )

/a

et

os

al-le-

MM

des
Im

1+MW

cendi
Ml

- l u - ia

fM

M n

al-le-

/%.

- l u - ia.

rogation antiphon, Deprecamur

One

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 )

pontifices

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

a
3=
Col-

i
i

-le-

ue-

-ge-

-runt . . .

- n i - ant

-strum l o -

(iv) Antiphons

-cum ...

Ro-ma-

et

-ni

et

ab

for Other

di-

tol-

il-lo

er-go

-ce - bat

-lant

di - e

no-

cogi-tauerunt

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

f r o m G r e e k kontakia when the ceremony

suum

(Purification) were

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

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

-f

9+, ^

qui an-te mundi princi-pi-um

alpha

A - quam me - e

propter uos flagellis cesus sum

spi-nis

A - quam pe-ti - i pen-dens

Mor-tu-us et se-pultus sum

ui-de-te qui-a

-T9+*
Al-le-

V.

sum

*+^9

resusci-ta-bo

#^

por-re-xerunt

-**
lance-am.

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

me.

9^0^ ~
W

lui-

E-go sum uestra redem-pti-o

e-go uos

resurre-xi uo - biscum sum

e-go ip-se

* 9 9
et in la-tus

me-am fel de-derunt

9 ^

co-ro-natus sum.

et a - ce-tum

-a.

e-go sum rex uester

per dex-te-ram

me-am.

>

ui - uo in aeter - num.

cla-uis con-fixe sunt

~9

in escam

*w

et in seculum secu-li

que uos fe-ce-runt

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

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

V *
primus et no-uissimus

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

Antiphons

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

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

or G-a-a,

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

(Sedit)

angelus

V . Crucifixum

(two versions are discussed in Roederer, 1974) and Ch?istus

resurgens

Iudei.

proportions,

T h e two are nevertheless

character, Stetit

angelus

of different tonality,

in

V . Dicant

came
nunc

and musical

being in G , with a long respond and short verse and a very

mobile, free-ranging melody, Christus

resurgens

being i n D , with respond and verse

equally long, cramped i n range, and making use of the G a l l i c a n cadence.

One

remarkable antiphon, Ego sum alpha

et a> (Bailey, 42), is a meditation b y

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

responsorialis

responsories.)

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

105

Antiphons

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

and Processionale

selecti,

and in analysing the

F e w are available in print (some are published in

monasticum.)

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

(Ex. II.10.1), whose text can be traced back to the

tuum praesidium

t h i r d century (Mercenier 1940)

and which was sung in the Milanese as well as the

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

'

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

nostras deprecati-o~nes ne despici-as

set a periculis libera nos

Of

more

ample

are

de-i genitrix

in ne-cessitatibus

sem-per

dimensions

(Paris, B i b l . N a t . lat. 1139, f o . 126 )

uirgo

be - n e - d i - c t a .

antiphons

Benedictus antiphons. O n e such, O virgo

virginum,

which

doubled

as

Magnificat

or

was borrowed f r o m the series of

impressive O-antiphons. It was of course a simple matter to copy a

psalm-tone

cadence at the end of the antiphon if required, or omit it. T h e same antiphons might
also be sung in procession, as for example, Alma
caelorum

redemptoris

mater

and Ave

regina

in S a r u m use.

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

facta

es in two versions, the first as a simple

office antiphon (in the L u c c a antiphoner for the N i g h t Office at Purification),

the

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

M a r i a n antiphon Speciosa facta

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

529)

Lucca

Speci-o-sa facta es

Speci-o - sa

sancta

et

su-a-uis

f a - c t a es et su-a

de-i

ge-ni-trix
i

in delici-is tu-is

- uis

sancta D e - i

in d e - l i - c i - is

quam ui-den

tes

fi-li-e

ge-nitrix.

uir-gi-ni-ta-tis

Sy-on

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

be-a - tis-si - mam

et

pre - d i - c a - uerunt

li - li - is con -

et

re-gi-ne

ual-li-um

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

' 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

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
d e s c e n t g-f-e-d-c
Something
(Ex.

the

same

possibly

musical

the

oldest

quality
of

In

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

( 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,

of

I I . 10.3),

is r e q u i r e d ( f o r t h e u n -

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.

pervades

the

four

Alma

o r g.

redemptoris

best-known

Marian

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

(F-mode

s t r u c t u r e . Ave

but

regina

with

bb

caelorum

throughout)

features

short

'F-major'

with

repeat

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 ,

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\

melismas

a n d as i n Speciosa

facta

facta,

the t r i a d i c

often pitched on c

flavour

of t h e m e l o d y is

noticeable.
Salve

regina

is i n t h e D - m o d e ( E x .

I I . 10.3). 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

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

first

two

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

Sal-ue gemen-tes ...

il-los

ma-ter ...

tu - os

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

D)

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

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

P
P

Au-re - i

no - mi-nis

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

bo-

-na

Ma-ri-a

Ma-ri - a

Ma-ri - a

ma-ter

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

mi -se - ri - cor-di - e

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

pul-

-chra

O singu - l a -

tu il - la magna

-ris

Ma-ri - a

-+*r*
De

fi-li-o

tu-o

re-

- c o n - c i - li -

a.

-le

post Deum spes no-stra

138 )
r

108

IL Chant

E x . I I . 10.5.

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

Tri - ni - ta - tis

+, -

ta - la-mum

**+

ut

nos

de

totus

i - ta

di - lec-tos

mundos

om-ni

prece

pi - us

pi - e

matris

ue-ra

lu - ce

'

et e - l e c - t o s

'

co-rus is-te uene-re-tur

~' *

"

-so d u - c e

ue - ni - am

'* v
et de - uo - tus

*
ut

sub hac u i - t a

quod ip - si - us

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

an-ge - lo - rum glo-ri - am

et lapsorum

ip-

thalamum

casti - ta-tis balsamum

lau

Genres

' *
fru-i

do-net

'

ui - ti-o

caros reddat f i l i - o

regno

^
Dei matrem
et precetur

pa-tris

'

et co - ro-net

lau - re - a t r i - u m -

-pha-

J ***},
9

9 J t =

-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

E x . I I . 10.3

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

(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

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
5 and 1983).

11.11.

I N T R O I T S

(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
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

texts,

of the e i g h t h a n d

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

ad

repetendum,

g i v i n g t h e o v e r a l l f o r m (I =

ninth

another
Introit

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

T h e s e Versus

ad repetendum

[-VadR-I]

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

S u n d a y s after Pentecost

have texts i n the n u m e r i c a l

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

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

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;

(b) rise through a; but Benedicite

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

(e) the rise to c may be delayed within the lower tetrachord

(/)

and Ego

use the decorative turn in (c);

D-G\

shows a flourish around the final c\ the substitution of adc for the simple ac is
very c o m m o n i n other phrases also.

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').

Introits

11.

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\

In

Om-ni-a

Z m
fm
m

So

In n o - m i - n e

de-o

Lo-que
Ti-me

/Jw s
m

Libera-tor

fm m m
Bene-di-cite

me(-us)

tur
te
rmm

Con-fes-si-o

0 9

0H m
Re-ple-a-tur

Si i-niquitates

t\

*'

/ ' '

E-go

mmm

au - tem
E-go

~v~
e JL

Dum cla-marem

0tt0 ip m
Ec - ce
Cog-noSperent

7=\
A
*
ad

do-minum

0
o - cu - li
-vi
in
te

do
do
do

0k

m*

0*

' 1 mww 0

V o - c e m iu-cun-di-tatis

w*

*0
m

Sacer - do - tes

f~0 4 *0

cla-ma
0*

ui
-1

* *

tu-i

do(mine)

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)

FE\

s o m e s h o w a n i n i t i a l rise t o

cadence;

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

EGFF

E.

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

do-

o-

In Deo

- m n i bo - no.
Si iniquitates

mi-

-hi

ca

ro.

De - us

Is - ra - hel.

Dum clamarem
-0

Av

'

Vocem iocunditate

' g i ^ f i ' *&

Z7Z-

a <

ip-se

te

"

^ r ^ i i
e-

- n u - t r i - et.

1f
al - le-

* .

- l u - ia.

Loquetur

Karitas Dei

al - l e -

-lu -

ia.

con - uer-tun - tur

Ecce oculi

ad

Sacerdotes t u i
9

al - l e -

Chri - sti

In nomine

me.

ip - sum.
Dum sanctificatus

mm

- l u - ia.

Tibi d i x i t

tu-um

<

'

pa-

tu- - i .

spi-n-tum

Ego autem

-t ris.

no - uum.

Coqnoui

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,

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

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
descent

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,

seen

most

simply in

' 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

ha-

Intret oracio

-bi-tans in i l -

-lis

In-tret o - r a -

Vocem iocunditatis

Liberator

li-be-rauit

e-xal

"fl

do - minus

Timete

ta - bis

jt_
fr\

?m m w m m mam
/*
t P'M m
*
* 'M m
Re-ple - a-tur os meum laude t u -a
0

Dum sanctificatus
i
a-

-quam

^Km

-n

me

1 1I

inquiren - tes

--fil

au-tem do - minum

propter D a -

- u i d ser

0 * 0 *

Vocem i o c u n d i t a t i s

mun - dum

- c i - o me - a

mi{

- uum t u -n

s-\ f T Or

nun-ci - a - te us-

1
*JJ}m

-mum terre

-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

G , o r E.

dwell on
The

same

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

greater

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 .

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-

-urn

sperantes in

mi-se - ri - cordi-a

e - ius

7T1
a l - l e - lu-

a - ni - mas e -

-la

o-

ut

-rum

e-

-n-piat

mor-te

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

melodic f a m i l y already cited ( E x .

dominum.

II.7.3),

legifer

it t h e

introit

of a
Timete

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

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.

a member

noster,

and underneath

I I . 11.5. A n t i p h o n

Dominus

legifer

noster

(AS,

k)

and

introit

The
Timete

example

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

do-minus rex

e-ius

noster

quo - ni-am ni-hil

de-est ti-menti-bus

e-

lp-se ue-ni-et

di - uites

et

non

e-gu - erunt

sal-ua-bit

de

fi

et

e-xu-ri-e-

-runt

nos.

ci-

-ent

om-

-ni

bo

inqui-ren - tes

is

autem do - minum

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

on E

instead of G . T h e next introit phrase, a recitation on G , has no

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

oculi,

etc. with Frere in AS,

E x . II. 11.2 (c) Karitas

dei with Frere, 34

E x . II. 11.3 Sacerdotes

tui with Frere, 30

Intro., 31

(E2);

(E3);
(g2).

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

1
2
3
4
5
6
7
8

F a v o u r e d reciting notes
lower

higher

F
F
G or a
F
a
F

a
F
c
G (rarely a)
c
G , a or c

c
G (rarely a)

d
c

P s a l m verse

a
F
c
a
c
F,a
d
c

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

mode,

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,

Since F

is t h e

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)

C O M M U N I O N S

General

(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)

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 .

General

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,

et videte

quoniam

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,

401-2), but

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 .

N o other

chant

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

melodies

( 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

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,

144 ff. argues, however, that theme

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)

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

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

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

GF,

(Ex.

II. 12.1).

The

only

F ('veritatis', ' P e t r o ' a n d the

manum).

A n o t h e r cadence c o m m o n

a p p e a r s o n l y o n c e , at t h e e n d of Pascha

nostrum,

and

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

of Pascha

end

nostrum,

a n d 'fidelis', the

last

two

b e i n g 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

F r *=

nostrum

im-mo-la-tu(s)

al-le - lu -

ia

i - ta-

al-le-

Sur-re-xit

71

est Christus

-que e-pu - le - mur in a-

- l u - ia

do -

al-le-

minus

(transposed down a

et

- l u - ia

ap-pa-

-ru-it

- z i - m i s sin-ce-ritatis et

al-le-

Pe-tro

-lu-

al-

ue-ri-ta-tis

-ia.

-le-

-lu-ia.

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,

is not seriously challenged. In the first phrase of Mitte

so that the
manum,

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

|| F

Mit-te m a - n u m tu-am || et cog-nos-ce lo-ca c l a - v o - r u m

Had

the use of standard phrases been the n o r m , the 'alleluia' phrases in these

c o m m u n i o n s could easily have been identical. T h o s e in Pascha

striking. Surrexit

dominus

then moves unexpectedly out of the F-bb

tetrachord d o w n to the C-F

are repeated groups of notes in both these clusters: ab aG-ab

DC.

In the absence of a notational sign for Eb,

in some sources. In Mitte

nostrum

are least

has already started out more adventurously. Its 'alleluia'

manum

aG . . .

range. T h e r e
FDEDC-FDE

the whole chant is transposed up a fifth

(transposed for the same reason), the long

F-G

recitation just cited leads into an 'alleluia' which cadences on G by way of the t r i c h o r d
Eb-G-bb.
Dicit

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

F-a

implete hydrias aqua

. . . - G

et ferte architriclino

F-G-a

. . .

E x . I I . 12.2. C o m m u n i o n Dicit Dominus implete hydtias

11. 159, p . 61)

Dicit

do-

-mi

dum gus-tas - set

nus

archi-tri - c l i -

ser-ua-sti ui-num bo-num

implete hy-dri - as

us-

-nus

. . .

-G-F

F-G-aaG-F-G-GF

d u m gustasset architriclinus

( 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

a - qua

a-qua ui-num

et f e r - t e a r c h i - t r i - c l i -

factum d i -

-que adhuc

hoc signum fe-cit Hie-sus pri-mum coram dis-ci - pu - lis su-is.

-no

- c i t sponso

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

(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

appear i n the c o m m u n i o n , standard 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

shape

seem

i n the r e s p o n s o r y .

l a r g e l y i n d e p e n d e n t of t h i s ,

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

r e s p o n s o r y * r i s e s a f i f t h D-A

The

except

and cadences on F ,

the

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

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.

A f t e r 'propterea', already m e n t i o n e d , the

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 .
Communions,
different

therefore,

directions,

are

musically

highly inconsistent
and

i n style,

liturgically. T h e

and point in

impression

remains

many
of

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

D i - f u - sa

est

gra

- ci - a

bi-is

in

la

tu-

-is

responsory

D i f - f u - s a est g r a - c i - a

pro-pte-re-

-a

pro-pte-re-

inla-bi-is

b e - n e - d i - x i t te

*
-a

De-

tu-

-us

-is

in

b e - n e - d i - x i t te

e-

De-

-us

in

-ter

e-

0 0

-ter

num.

num.

11.13.
(i)

O F F E R T O R I E S

Introduction

(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)

1984;

triplex.

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

and the Liber

Romanum

usualis.

was recently reissued i n Offertoriale

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

triplex,

sources), and despite Sidler's study of 1939,

the verses are unfamiliar. B u t the first

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.

F u r t h e r m o r e , the function of the offertory somewhat

that of the introit and c o m m u n i o n : a chant

(introit),

the

b r i n g i n g of

gifts

to

the

resembles

accompanying the solemn entrance

altar

(offertory),

the

clearing

up

after

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,

melismatic

nothing like office antiphons, or any

outpourings

as

impressive

as

other

anything i n

the

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,

P a l M u s 8, ed. H a n s e n 1974), for example, makes a

simple fourfold division between chants in Protus mode ( D ; 28 melodies), D e u t e r u s

( E ; 29),

Tritus (F;

16) and T e t r a r d u s ( G ; 31).

( O n e or two of these are multiple

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

restrict

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

from Montpellier H .

196.

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,

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.

(ii)

15 ( B e n e v e n t o ,

U n i v e r s i t a t s b i b l i o t h e k 807),

A r c h i v i o Capitolare 34),

and T h i b a u t ,

1912

(St

Petersburg,

(Paris,
and

19

Saltykov-

6).

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

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

from

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
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

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

responsorialof

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

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

descendents

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

offertories.

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 ,

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

a p p e a r (as t h e y d o i n t h e

and

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
melismas
reiterations

of

ten

or

more

notes.

of a s i n g l e p i t c h , F

As
or c,

in

the

introit,

are f r e q u e n t l y

gradual,
present.

and

communion,

Although

standard

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)

cite examples in the offertory

which uses mode 1 gradual phrases (Apel 1958,

Superflurnina,
extended,

and c l ) .

A s far as openings, cadences,

351, D I , somewhat

and u n d e r l y i n g structures are

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.

I I . 13.1. O f f e r t o r y r e s p o n d Ad te Domine

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

H . 159, p . 205)

P
P

Ad

te

De-us

do - m i -

me - us

ne-que

in

-ne

te c o n - f i

ir - ri - de-

le-

-ant me

do

- u a - ui

non

a-

-ni-mam

e - ru-

in - i - mi - ci

-bes

me-

fl
et - e - nim u - n i - u e r - s i

Ad te domine
requires both bb

(Ex. II. 13.1)

qui te ex-pectant

me-am

non confun-

^M.fT\
-den-

-tur.

is an offertory respond of this type. Since the melody

and /?t], and since the second verse will explore the lower region

between C and G , the melody is notated with final on a.

M o s t of the melodic

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,

preserves especially colourful versions of some melodies. In In die

sollempnitatis,

E x . II.13.2, ' I n die' at the start and 'alleluia' at the end have 6t), but the whole central
section of the piece is notated with bb.
character as E x . II. 13.1,

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)

In

di-

-e

in - du-

-tem

t h e r e f o r e bb

sollempni-ta - tis

-cam

lac

uos

et

mel

( M o n t p e l l i e r , Faculte de

sollempnitatis

in

ues-

-tre

di-cit

do-

ter-

Medecine

-mi

-ram

nus

flu-en-

al - le-

-lu

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

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

see B o m m 1929,

166 ff.

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

modest

and Jacobsthal

1897,

fifth:

222ff.)

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
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

than

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

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,

may

Deo

be

universa

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

before,

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).

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

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

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

extended

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 .

first

The

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

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

( o r n a m e n t e d DCD),

is p r e f e r r e d t o , s a y , aGF)

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

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 .

pauses,
D-F-a-c-d
(For a

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)

Iu-bi-la - te

De - o

Deo

u - ni - uer - sa

universa

terra

ter-

( M o n t p e l l i e r , F a c u l t e de

-ra

iu-bi - l a -

-te

u - ni - uer-

psalmum d i -

ue-ni

om-

-sa

ter-

- c i - te

no-

-mi

ni

e-

=*e=
- te

et

au-di-

-nes

-te

et

qui ti - me - tis

-ni-meme-e

narra-bo

De-um

and Steiner, 'Offertory',

uo - bis

quanta

fe-cit

do-mi

lu-

nus

Deo

omnis

terra,

-ia.
cited by Baroffio

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

first

_*

al - l e -

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

The

De - o

a n d Gac

groups.

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 ,

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 .

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

M o s t of t h e f e a t u r e s
somewhat

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 ,

exaggerated.

There

are repetitions

of

words

and musical

often

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

responds.
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

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

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

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

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

Deus

( H a n s e n , n o . 857) a n d its

meus

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

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

dominum

matutinis,

is m o r e c l e a r l y i n m o d e 1

( 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 ,
b e g i n s o n bb,

fecisti,

Notas

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

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,

as if

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
o n D.

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

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

Deus

in iubilatione

( H a n s e n , n o . 866), the

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 ,
gentes,

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,

Omnes

a n d e n d s w i t h a c a d e n c e o n F.

The

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

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

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

r e p l a c i n g c as

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)

the

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)
r

Benevento

i* *' 9i^
m

jfr***^

'

****

****

* m ^

Montpellier

Tol-

- l i - t e por-

-tas

rex

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

A A B B C C D (Benedicam
(Benedictus

schemes

may

dominum),

es . . . in labiis),

be

cited

A A A B - C - A A A B

(Super

A A B B C C C D (Deus enim firmavit),

and A A B C C D C C

(Domine

Deus

meus).

flumina),

AABBCDDE

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 . . . . . .

Ipse super

*}.

ma - ri - a funda-

-uit

-jg=

.
e-

-urn

et

Ok

super

flu - m i -

-na prepa-rauit

3 times

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

p m

Reddam ti - bi

uo

ta

me-

129

Offertories
Deo universa

-a

terra ( c o n t i n u a t i o n of E x . I I . 1 3 . 3 )

red-

-dam

-rrti-

-bi

uo-

-ta

dis-

que

me-

-tin-xe-

-runt

P
-bi-

L o - c u - t u m est os me-um

in

l o - c u - t u m est os me-um

# *

tri - b u - l a - t i - o

ne

me-

in t r i - b u - l a t i - o - ne

me-

-a

me-

ho-lo-cau-

-sta

^ ^_

me-dul - la
_

ta

o-

*m *.
9

*H*r

- f e - ram t i -

frigjft

*fj*
-bi.

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

flumina:

Benedicam
Deus

enim

t w e n t i e t h S u n d a y after

dominum'.
fiimavit:

Pentecost*

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

Quinquagesima

es . . . in labiis:
Deus

meus

(in very few sources): t w e n t y - f o u r t h S u n d a y after Pentecost*

(*the S u n d a y m a y vary between

Iubilate

Deo

universa

sources)

is u n i v e r s a l l y a s s i g n e d

terra

to t h e

second

Sunday

after

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)

Schlager

1965;

B a i l e y 1983, Alleluias;

Treitler

1968;

Jammers 1973;

Schlager,

M M M A 7, 8.

Introduction

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

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

modern books is:

Cantor:

'Alleluia'

Choir:

' A l l e l u i a ' 4- j u b i l u s

Cantor:

Verse (main

Choir:

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 )

part)

Cantor:

'Alleluia'

Choir:

jubilus

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 .

music
This

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
constitute an u n d i v i d e d r e s p o n d :
Cantor:

' A l l e l u i a ' 4- j u b i l u s

Choir:

' A l l e l u i a ' 4- j u b i l u s

Cantor:

Verse

Choir:

' A l l e l u i a ' 4- 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

firmly established than for almost any other chant genre.

Nevertheless,

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

it

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

reckons that around sixty melodies were used (see the list in Schlager, ' A l l e l u i a ' ,

NG).

Prominent among the melodies used for more than one text are those for

Dies

(third Mass on Christmas D a y , nine other texts in the early repertory),

sanctificatus
Dominus
Domine

dixit

ad me

(first Mass on Christmas D a y , eleven other texts) and

Excita

(third Sunday of A d v e n t , six other texts). ( F o r melodies with several texts,

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

about

1100

(the

cut-off point for Schlager's

catalogue) the repertory

expanded

dramatically. Schlager records 410 melodies, plus a considerable n u m b e r of others in

adiastematic

neumes which could not be catalogued:

n u m b e r of texts had increased at the same time to over

a sevenfold increase.

The

600.

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.

Schlager

points to

the

striking efflorescence

of creativity

in South

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.
A

corollary

of

the

continuous

compositional activity

is the

variety

between

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

(1958, 379)

listed the alleluias of the temporale

whose

assignment

remained constant across the eighth- to ninth-century sources edited by Hesbert in

AMS:

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.

dixit ad me (Paris, B i b l . N a t . lat. 776, fo.

minus

go

di-xit

ad

me

f i - l i - us

meus

ho-

Do -

12 )

es

tu

-di

pe - nu - l

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

cadence on

ending

(bracketed

in

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

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
b to F.

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

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

1958,

356).

E x . I I . 14.2.
12 )

A n o t h e r melody for Alleluia

dixit ad me (Paris, B i b l . N a t . lat. 776, fo.

Dominus

3 T

A l - l e - lu - ia.

Do - m i -

-nus

>jm *m
9

m9m

di - xit ad me
^0^ 0H

mmM

fi - li - us

me - us es

tu

e^ J ^ J .

MM

ho-

-di

-go

ge - nu - i

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,

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

Bibliotheque

(Schlager

1965,

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

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

E-final.)

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

the

common

no

firm

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,

for

of s a i n t s

or for

Sundays,

which

by

their nature

would

have

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 .
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

semitone

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.

E x . I I . 1 4 . 3 . Alleluia

Al-

Attendite

-le-

Adten-

popule meus (Paris, B i b l . N a t . lat 903, f o . I22 )

r

- l u - ia.

-di-

-te

po-

-pu -

le

-r~r
-us

in le - gem ue - stram.

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,

extended b y repetition, made m o r e regular. T h i s affects not o n l y the

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 ,
Attendite
D

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

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.

Beatus

All.

Cum esset Stephanus

All.

Surrexit

Others

sanctus

Martin

Dominus

us ( S c h l a g e r
(Schlager

et occurrens

1965, N o . 396)

1 9 6 5 , N o . 102)
(Schlager

1 9 6 5 , N o . 10)

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

sum pastor

bonus

(Schlager

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

facte

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

few A q u i t a n i a n sources) displays a subtle

alternation

of l i k e a n d u n l i k e

phrases

( 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

jubilus.

F o u r phrases

' G a l l i c a n cadence'

i n all end with

an identical cadence,

CDD,

the so-called

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

14.
E x . I I . 14.4. Alleluia

Nuptie facte sunt in Chana

#

All - l e A

'

br

1 i

9M

- l u - ia.
1

135

Alleluias
(Paris, B i b l . N a t . lat. 903, fo. 18 )
r

\y

(x)

1 r

---

9".m _ db

Ma

I
Nup-ti-e

i i

f a c - t e sunt

in

(c)

Cha-

-na

G a - l i - le

et

erat

phrases

i - bi Ihe-sus

were

brought

E x . I I . 1 4 . 5 , All.

et

Mari-

into

Veni sponsa

-a

relation by

ma-ter

means

(Schlager

Christi

of

1965,

e-

a common

cadence,

whereas

N o . 35, likewise A q u i t a n i a n ) ,

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

T.

T h e D - p h r a s e s are 'c + d ' ( l a b e l l e d

separately

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

('h')

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

are

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).

Three-note

scale

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 ' .

136

IL

E x . I I . 14.5. Meluia

*9

9^ ^0Q &0 0^^

*90

Jp>

Al - le-

Genres

(Paris, B i b l . N a t . lat. 903, fo.

Verii sponsa Christi

- 0

~ZP

Chant

104 )
v

**\ ^00 m

9**

**9*0+A9

- l u - ia.

*9*+M

*4 "9

Ve-

#*

-ni

* *

00

'U

"9

Chri-sti

(cjr. c + St)

acci-pe c o - r o *i > V

WW

spon-sa

'#

wi

(uO

et

jt

1 r-

-nam
n.

1 1

'U

9-+'

quam ti - bi

do-

-mi-nus

pre-pa-ra-

"9

-uit

r~
^

JL
' 00 00 J$
W

in ae-

JT-

-ternum.

T h e last p h r a s e , ' i n a e t e r n u m ' , t a k e s u p the ' a l l e l u i a ' c a l l a g a i n , l e a d i n g i n t o a r e p e a t of

the j u b i l u s , i n d i c a t e d b y a brief

cue.

F o r s o m e , a n a n a l y s i s l i k e t h i s m a y be o v e r - i n g e n i o u s , w h i l e o t h e r s m a y
o v e r d e t a i l . T h e i m p o r t a n t p o i n t is t h a t r e p e t i t i o n s a n d e c h o e s of t h e sort
are

unthinkable

technique.
responsorial

The

i n earlier
whole

form but

chants and mark a radical departure

composition

is h e l d

by a network

together

not

in

simply

disagree
described

compositional
by

its

overall

of i n t e r n a l r e f e r e n c e s a n d p a t t e r n i n g .

It

is

i m p o r t a n t t h a t t h e r e f e r e n c e s are i n t e r n a l , that i s , t h e y d o n o t r e l a t e t h e p i e c e to o t h e r s
of its c l a s s b u t c o n t r i b u t e to the i n d i v i d u a l i d e n t i t y of t h i s o n e ' w o r k of a r t ' .

( i i i ) Rhymed

Alleluias

and

Late Medieval

Melodies

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.

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

of

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.

Iesse floruit

(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

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.

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

trinitatis,

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
the

version

Bibliotheque

adapted

for

Nationale,

St
lat.

Barbara
905

added

(from

in

Rouen)

the
in

sixteenth
Ex.

century

I I . 14.6.

The

to

Paris,
musical

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

scheme:

-ata

-is

-ata

-atis

-iice

-atis

-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

(melisma w i t h A A B structure, new ending)

T h e j u b i l u s is b y c o n t r a s t r e l a t i v e l y u n i n t e r e s t i n g ( t h o u g h it f o l l o w s a n A A B r e p e a t
pattern i n some

sources).

T h e m e l o d y is r a t h e r m o d e s t i n s c o p e . P h r a s e s s u c h as ' c u n c t i s h o r i s e i i c e ' h a v e a n
undoubtedly modern

flavour, not

so

much

b e c a u s e of t h e

b e c a u s e of t h e r a p i d m o t i o n t h r o u g h t h e o c t a v e f-F.
F, c

three-note groups

as

E v e r y phrase begins or ends on

o r / , a n d m o s t w i n g t h e i r w a y o v e r the w h o l e s c a l e .

138

//. Chant

E x . I I . 1 4 . 6 . Alleluia

Al-

-le-

Ante thorium

trinitatis

-te

thro-num
$

post

et

in

tri-ni - ta-tis
^

tu-

fi - ne

.T,

Bar-

mater es

'

-os

a pec-ca-tis

cun-

cum be - a - tis

hinc

B u t t h e r e are p l e n t y of m o r e

-ba - ra nunc premi - a - ta

pi-e - t a - t i s

=3^
- uos

m m

Ma-ri-am

ser

(Paris, B i b l . N a t . lat. 905, f o l . 311 )

- l u - ya.

An-

Genres

flamboyant

et

ad-uo-ca-ta

-ctis ho-ris

e-

- i i - ce

precibus adii-ce.

m e l o d i e s a m o n g late m e d i e v a l a l l e l u i a s . A n

e x a m p l e w h i c h o n e c o u l d c a l l c e l e b r a t e d if it w e r e b e t t e r k n o w n is All.
pro

nobis virgo Maria

Ora

voce

pia

( M M M A 8, 3 9 3 , i n a h a n d f u l of S o u t h G e r m a n s o u r c e s ) , w i t h a

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

Schlager

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

(over 4 0 :

M M M A

numerous sources

rubens
cited

by

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

r h y m e d alleluias i n south-east

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

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):

t h e r e a d i n e s s to

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 c t a v e l e a p e to E,

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

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 .

The

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

8, 351 f f . ) .

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

11.26).

The

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

139

14. Alleluias

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 .

E x . I I . 14.7. Alleluia
/

O Maria

mbens

rosa ( S t G a l l , S t i f t s b i b l . 546, f o . 327 )

r

r*/
Al-le-

-lu-ia.

* *

W0

Ma-ri

'9

ru-bens

-sa

e - xau - di nos m i - s e - r o s

P
P

*0
m

et perdue

#>

-go

et

-sa deli catum l i - l i -

gaudi-

'

'0^

-urr

-urn

co-pi-o-

~*0

ad fi - li - urn

* '

-sa

***0

**

o - ra pro n o - b i s p i -

nos

uir-

ro-

tu ui-tis

'

summum celi

-da

^*

#g#

- a

dul-cis m i - - t i s et formotu cel-sa Christi l u - c i -

~~*^ *

-a

tu - urn

-0*

Ma-ri-

E x . I I . 14.8. T r o p e verses for Alleluia

O Maria

rubens rosa ( M u n i c h , U n i v . - B i b l . 2 156, f o .

260 )
r

-0

"

* +0
w

. . . Summum celi gau-di-um

A l - l e - l u - i a al - l e - l u - ia

et spes in te cre-den - ti-um

t i - b i ca - nentes sub - le-ua

O uir-ginum M a - r i - a.
tu ru-ti-lans au - ro - ra.

*2

M a - r i - a candens li - li - urn
Alleluia (etc. as *1)

. . . pla-ca

fi - li - urn

O dulcis

*3

... Ut pe-tas a u - x i - l i - u m
Alleluia (etc. as * l )

no-bis post hoc e - xi - li - urn

tu mundi

tu-um

et

for-mo-sa.

lu-mi-no-sa.

11.15.
(i)

H Y M N S

Introduction

(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

lateinische H y m n u s ' , MGG;

(i)

Steiner, ' H y m n , I I . M o n o p h o n i c L a t i n ' , A G .

Introduction

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

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

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
Moberg's projected

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

completed.

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 ,

one

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 .

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

conditor,

gentium

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

to A m b r o s e .

omnium,

O n l y centuries

Iam
later,

surgit
alas,

hora tertia,
do the

and

earliest

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

surgit

hora

tertia

w a s rarely-

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

al.

( 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 ) .
r

The

earliest

Stablein),

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

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

notation.

by

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,

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,

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
century.

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

Hymnal')

gained

subsequent

rapid

collections,

hymnaries, therefore,

and

widespread

i n c l u d i n g those

acceptance.

It

in

service-books.

modern

forms

the

(the

basis
All

'New
of

all

notated

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 .

Stablein

has

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

of

ornate

ones,

the

r e g u l a r i z a t i o n of

note

groups

to

reflect

text

rhythm,

and

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,

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

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).
of t w o

metres.

(Stablein

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 ) :
(3 t i m e s )

-\j
KJ

Such

w
poetic

compositions

were

often

sufficiently

highly

regarded

as

artistic

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

those

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,

rutili,

O crucifer

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
Pange

lingua,

auctor,

bone, Pastis

visceribus,

Ales

diet

etc.

Vexilla

Quern terra

pontus

ornne saeculum,

aethera,

Salve

festa

Crux
dies,

benedicta

nitet,

Tibi laus

perennis

regis

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

cardine,

Hostis

Herodes

impie

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
longer poems,

some written for special occasions.

a c t u a l l y a later p a r t of t h e s a m e

p o e m as A solis

T h u s Hostis
ortus

cardine.

Herodes
The

impie
first

is

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

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).

Others

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 .

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
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

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 .

It is g i v e n i n

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

first.

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

75. Hymns
E x . I I . 1 5 . 1 . H y m n Christe

~+

9 *

qui lux es ( O x f o r d , B o d l . L i b . L a u d lat. 9 5 , f o . 140 )

r

99

Christe qui lux es et di-es

^ ?

* S

9 4

9 9

artubus

* 9^

Wli

lumen b e - a - t u r n

H y m n Somno refectis artubus

Sompno refectis

noctis tenebras detegis

lu-cisque lumen crede-ris

E x . I I . 15.2.

143

9 4

predicans.

( O x f o r d , B o d l . L i b . L a u d lat. 95, f o . 137 )

v

spreto cubi-li

surgimus

;
nobis pa-ter

the

Night

ca-nenti-bus

ad-es-se te deposcimus.

O f f i c e o n M o n d a y , g i v e n i n E x . I I . 15.2

w i t h its commonest

( 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

dierum

melody

omnium,

the

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

Both

these

performance

hymns

first-time/second-time

are ' A m b r o s i a n i ' . W h e t h e r

their

metre

cadence.

w a s reflected i n

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

144 <fo

Ec - ce iam no-ctis
lu - cis au - ro - ra

te-nu-a-tur
um-bra
ru-tilans co - rus-cat

ni-si-bus to-tis

rogi-te-mus om-nes

'

Ut

de-us noster

pellat languorem

i*

cuncti-po-tentem.

tribu-at s a - l u - t e m

donet et nobis

m a n y sources

mise-ratus omnem

pi-e-tate

_
pa-tris

regna polorum.

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
recognizable.
Melody

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

p a r t i c u l a r text (Iste confessor

i n F r a n c e , Virgin is proles

firmly

attached

to a n y

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

m e l o d y 56 w a s s u n g a l l o v e r

gloriosi
Europe,

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

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

regis i t

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.

141 )
v

if

v * *

Pange lingua glo-ri - o - si

p r e - l i - u m certami - nis

i
et

super crucis trophe-o

_C

die tri-umphum nobi-lem

fi

Cj E

0,

quali-ter redemptor orbis

d i f f e r e n t d a y s (the
iam

immola-tus ui-cerit.

commonest

a n d 8, Cmx

peracta,

fidelis

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

lingua

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

sex

qui

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

inter omnes).

A q u i n a s ( d . 1274)

gloriosi

6, Lustra

corporis

took the o p e n i n g for his C o r p u s

mysterium.

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

between

foreshadowed
Ex.

11.15.5,

Sanctorum

one

mentis

E x . I I . 15.5.
12, 10*)

the

in E x .
of

scale-segments they
I I . 15.3,
five

(NH

melody

melodies

command.

107.

These

are m o r e

p r o v i d e d i n the

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

o b v i o u s l y present

Worcester

compendium

in
for

119).

H y m n Sanctorum

mentis

(Worcester, Cathedral C h a p t e r L i b . F . 160; P a l M u s

Sanctorum m e - r i - t i s
panga-mus s o - c i - i

in-cli-ta
gestaque

nam

promere cantibus

gliscit a-ni-mus

They

fifth),

gau - di-a
for - t i - a

uic

- to-rum

genus o p - t i - m u m .

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).

F,

I n m e l o d y 4 2 0 , g i v e n as E x . I I . 1 5 . 5 ,

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.

A f t e 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 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,

two

rather t h a n the

u p p e r s e g m e n t of t h e C s c a l e .

(iv)

Processional

Hymns

H y m n s were often s u n g i n processions.

Stablein's

edition,

of

which

not

The

a l l are

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

actually

processional

hymns).

large

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
repeated

after each subsequent

s t r o p h e . Pange

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

be

was s u n g i n t h i s w a y (to a

lingua

as the r e f r a i n s t r o p h e . I n

fidelis

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
SI

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

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
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

are

strophes.

distichs, and trochaic tetrameter.

a n d T h e o d u l f of O r l e a n s ' s Gloria

laus

et

honor

Fortunatus'

are

well-known

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

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
and

142-66

respectively,
composer's

of

St

Gall

381

there appear

u s u a l l y c a l l e d versus
name.

Thus

the

two

series,

( r a t h e r t h a n hymnus),

first,

Sacrata

libri

of

twelve

and

five

items

and frequently bearing a

is

dogmata,

headed

'Versus

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).

be

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

G a u t i e r 1886, 2 3 - 9 ;

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

382):
H a r t m a n n (d. 925):
Cum

natus

Sacrata

libri

dogmata',

Salve

lacteolo

( I n n o c e n t s ) ; Humili

esset Dominus

prece

decoratum

(Innocents);

(for feast-days

generally,

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

clementem

o n e of t h e final t h r e e

plebs devotissima,

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
F o r t u n a t u s : Salve

festa

R a t p e r t ( d . 8 8 4 ) : Ardua
omnipotens
terra

dies
spes mundi

(see S t o t z , 1 9 8 2 ; u s e d as Humili

prece)',

Laudes

('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

( 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

beati gerininis

W a l d r a m m ( d . r . 9 0 0 ) : Rex

benedicte

sancte

dei

(St

Gall)

('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 )

lux

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

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

refrain arrangement

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

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

spes a n d Humiliprece

century)

are s u n g i n

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

E x . I I . 15.6.

P
P

F r o m processional h y m n Ardua

(three soloists)

Ar-du-a

"

Christe

^(choir)

so-li-dator et

^ *"

pro-pi-ti-us

e - xaudi nos

mi-se-re-re.

Vir-go De-i

o-ra

ge-ni-trix

+ r

pro famu-lis

99

7^-

ru-ti-lans in ho - no-re perhenni

f*

sancta M a - r i - a

tu-is.

> " **

A r - d u - a ..

9 ~r=99
(soloists)

A n - g e - l e summe D e - i

,' .

ad-iuuet et G a b r i - e l

(choir)

in - c l y - t e c e - l i

Ar-du-a ..

(soloists)

spes mundi (Paris, B i b l . N a t . lat. 904, fo. 136 )

spes mun-di

(choir)

spes i n v o k e s R o m a n u s a n d

Christe . . .

'

^ 9*

Micha-el m i - s e - r e - r e c i - t o nostri

9 4*

atque pi-us Rapha-el.

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 ,

Gloria,

Credo,

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
festal

masses:

t h e a n t i p h o n s Asperges

( d u r i n g Eastertide)

egredientem
further here.
Benedicamus

(outside

me

T h e s p e c i a l case of t h e v e r s i c l e Ite
domino

Eastertide)

with their psalm verses;

missa

a n d Vidi

aquam

these are not c o n s i d e r e d

est

a n d its r e l a t i o n , the

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,

even before rubricated collections became

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
the o r d i n a r y chants,

excepting only the C r e d o . T h e s e often

refer specifically to

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

usualis.

then

passed

i n t o t h e V a t i c a n Graduale

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

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,

and two Agnus.

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

Chants

for

the

Ordinary

of

149

Mass

( 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 ,

were

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
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

filled

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 .
A

comparable

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

and

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

been

s u n g b y the

s c h o l a u n t i l r e l a t i v e l y late,

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

and even then by no

fifteenth

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

means

c e n t u r y . M i a z g a ' s lists

settings, whereas the

other

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

represented.

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

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
remembered

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

the

congregation),

the

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

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,

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
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

(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

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

are

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.

5319

in M M M A

The

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

been

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 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

Gall,

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 a c s i m i l e of t h e Graduale

Pataviense

of

1511.

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.

missa

est

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

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

domino

(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
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

11.17.
(i)
(ii)
(iii)
(iv)
(v)
(vi)

( S e e H a r r i s o n 1963,

74-6;

1988.)

K Y R I E

E L E I S O N

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

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

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

Litany

' 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

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
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 :

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.

Ky-ri -e

e-

-le-

152 )
v

-yson.

v
Domi-ne De-us

om-nipo-

-tens patrum

nostro-

Q*~k
-rum.

Ky-ri-e

...

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

canentes,

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
i n v o c a t i o n , n o t Christe
1990,

eleison.

in the
eleison

( I n o t h e r s o u r c e s , h o w e v e r , Christe

sources.

manuscript
is s u n g as a n

is s u n g s e e B o e

' 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

1989,

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

at

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 .

(ii) Kyrie

eleison

after the Introit

at

Mass

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

(early

eighth

century),

no

longer,

it s e e m s ,

a song

for

the

whole

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

be

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
to B i s h o p J o h n of S y r a c u s e :

is s u n g as o f t e n as Christe,

Gregory

a n d that o n non-festal days o n l y

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

( L o r d have m e r c y ) : three

eleison
eleison

( C h r i s t have m e r c y ) : three
( L o r d have m e r c y ) : three

eleison

times

( T h e e n d i n g eleison

times

times

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

irnashave

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

L a t i n verses.

O u r earliest

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

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

text.

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

verses

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.

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

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
for

themselves,

and during

the further

period through

to t h e e a r l i e s t

sources

( 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 ,

w h i c h speak

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

II. 17.2). T h e

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

Kyrie

melodies

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

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

the

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

K y - ri - e

eley-son.

Ky - ri - e

eleyson.

St
Christe

Ky-

C9

eleyson.

-ri - e

eley - son.

Ky-ri - e

eley-son.

9-

'3
Ky -

eley - son.

Christe

1 "

ri - e

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.

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 ' ,

text Eccepulchra,

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

Ex.

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

virga,

Hughes,

45.)

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 ) .

The

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.

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 ,

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

154

//. Chant

Genres

E x . I I . 1 7 . 3 . K y r i e 68, Vatican X I V ( C a m b r a i , B i b l . M u n . 61, fo. 157 )

r

Ky-

-ri-e

eleyson.

Christe

^
Ky - r i -

Cx,

*"

-e

-"-^
C

um

eleyson.

eleyson.

Ky-ri-

-e

eley-son.

E x . I I . 1 7 . 4 . K y r i e 155, Vatican X V ( C a m b r a i , B i b l . M u n . 61, fo. 159 ]

v

B
Kyri-e

Christe

eley-son.

eleyson.

Ky-ri - e

eley-son.

Christe

eley-son.

Kyri - e

eleyson.

Kyri - e

eleyson.

el*
V
Kyri - e

*4

eley-son.

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.

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

between

verseverses

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

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 ,

s h o w little interest i n repetition schemes
Ex.

I I . 17.2.

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

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

etc.,

canentes

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.

celorum

E x . I I . 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

Kyrie 77

A*
W

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

II.17.5.

_rN

'f

Kyrie

*****

m.

Ky-ri - e-

-ley

*_>
- son.

^m

150 )
r

52
#\

0 _ 0 m l

F i . .
:

Ky-ri - e-

-ley

#i
son.

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

( 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 ) .

L a n d w e h r - M e l n i c k i 39

( 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

(vi) Later

starting

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

144

142.

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 .

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

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
Ex.

II.17.6.

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 )

v

im

____

Ky-ri - e

e-leyson.

Christe

e-leyson.

_-t___
(Kyrie as above, then)

Local

compositions

Kyri - e

include even

e-leyson.

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

J J

J IJJJ lc1 J IJJJ U

Jjl._.l-J_

K y - r i - e-

UJ

i etc.

-leyson.

K y - r i - e-

Christe-

-leyson.

-leyson.

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

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

Liber

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

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

Irish

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

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

more

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

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 :

some

as
are

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

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

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 .
The

most

important member

of t h e g r o u p is G l o r i a 39

i n Bosse's

catalogue,

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

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

Ga

a),

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.

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

II a n d I I I ) ,

ipsistis

en

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

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

t h o u g h m o s t of t h e m e l o d i c

movement

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 .
B o e 1990, Gloria,

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

( 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

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

Italy

opens w i t h

the

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

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

above

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
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

under

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
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

of

one

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.

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

dcbaG

ab aG G. T h i s is f o l l o w e d b y

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
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

accentuation

accommodate
patterns.

the

GFa

varying

T h e s e phrases,

aGEFED.

The

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
numbers

of

syllables

and

their

although deployed in a fashion

final

is

quite
varied

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

38

( 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'.

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 .

18.

Gloria

in excelsis

Deo

E x . I I . 1 8 . 2 . G l o r i a 2 (Paris, B i b l . N a t . lat. 10508, fo. 20 )

v

00

9*

00

G l o - r i - a in ex-celsis D e - o .

0*

*0

Bene-di-cimus te.

propter

magnam

A-doramus te.

glori-am tuam.

Do - mi-ne f i - l i u-nigenite.

Qui tollis peccata mundi.

0

deprecati-o-nem

Iesu Christe.

Quoni-am tu solus sanctus.

i f

0~p 0*

W
^

san - cto spiri-tu in glori-a D e - i pa - tris

te.

ti-bi

De-us pater omnipotens.

Agnus D e - i .

Qui tollis peccata mundi.

&

Laudamus

Grati-as a-gimus

Domine Deus.

T u solus dominus.

0*

( i i i ) Through-composed

Filius patris.

Susci-pe

Qui se - des ad dexteram patris.

Cum

gb0

Do - mine Deus rex celestis.

m
nostram.

0*

G l o r i - f i - c a m u s te.

Miserere nobis.

9 m

Et in terra pax hominibus bone uoluntatis.

fHj

Miserere nobis.

T u solus altissimus.

Iesu Christe.

men.

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)

(ED

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

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 :

E.

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

fleeting

coincidences

for ' e x c e l S I S ' , for e x a m p l e ,

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 .
A r e these a l l c o n s c i o u s attempts to b i n d the piece

together?

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
#

9 0a
w

0J0

G l o - r i - a in excel-sis
X
a

157 )

m\

De-o.

^
^ '

Lauda - mus te.

'

Et in
-

'

t e r - r a pax
^
X

ho-mi-ni-bus

^ _

'

Benedi-ci-mus te.

>

U fm

bo-ne u o - l u n - t a - t i s .
X
m

*0*

A - d o - r a - mus te.

Glori-fi-ca-mus

te.

dl

*4

G r a - t i - a s a-gi-mus ti-bi propter magnam tu-am glori-am.

j+

Deus pater omni-po-tens.

9*1

Domi-ne f i - l i u - n i - g e n i - t e

fi-Ii-us patris.

Domine De-us rex

Domine D e - u s agnus D e - i

celestis

Iesu Christe a l - t i s - s i - m e .

Qui tollis p e c - c a - t a mundi

miserere nobis.

As

7^0 0a
a

Qui

0'

**9

se - des ad

sanctus.

Qui tollis peccata mun - di

*m

1*0

dex - teram p a - t ris

Tu solus do - minus.

suscipe deprecati-o-nem nostram.

'09^

mi - se -

rere nobis.

x
90*+*
^0-^9

Cum sancto s p i - r i - t u in glo - ri - a

^9-^9

De-i

pa - tris

a -

Quoniam tu solus

Tu solus al - tissimus Iesu Christe.

'

men.

*~

#*

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

pax h o m i n i b u s ' (labelled

'x' i n

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

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
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 .

11.19.

S A N C T U S

(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
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

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

I n fact,

in Thannabaur's

earliest

source,

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

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

T h e next
fifteenth-

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

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 .
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 ,

recitation

formula.

Thannabaur

41,

w h i c h was s u n g b y the officiant to a

Vatican

XVIII,

is

hardly

more

than

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

melodies k n o w n from

sources.

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,

o r Agios,

k n o w n f r o m a g r o u p of t e n t h -

usually i n conjunction w i t h other

ordinary-of-

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 ' ) .

Levy

( 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,

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

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

or

as t h e b a s i c

is m o s t

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).

and Lord's Prayer

CDE
(see

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
(Ex.

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.)

(ii)

Other

Melodies

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

not accessible to

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 :
Thannabaur

Vatican

earliest

sources

32

XVII

11th c .

41

XVIII

12th c .

49

IV

11th c .

116

VIII

12th c .

177

XII

13th c .

202

XI

12th c .

203

II

12/13th c

223

XV

10th c .

Thannabaur.

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 )

108 ,
r

f"l

C,

jf*

A - gy - os

P
P

*0
9

'

u-ra-nus

(0

JL/li),

A - gy - os

'

/a
-

*0

4*

f*

f,

**9

'

"~

#i

- li

Be-nedictus

qui ue - nit

et

glo

*0

f0

000

in no -

##

sa-ba - oth

w u

ri - a

"#

tu - a.

mi-ne domi-ni.

0-^0~

o-san-na emptis ipsistis.

*0

Do--mi-nus De
~

terra

Ple-ni sunt ce

is-ky-ros

o-san-na emtas ipsistis

(3 times)

0"

en o-nomati k y - r i - o s

"

f*

0' 0

o the - os

00,

I0**
~ ~
'0 00 0- ~0)

0*4

do-xi su

o entho-me-nos

San - ctus.

f/Tv

0*0

ke-y-gitin

**m

Eulo-gi-me-nos

\tV

fr*S

A - gy - os

pli-nis

*0

000 0w-m^m0

- us sa - ba - oht.
-\ ^

/m

m.; J\

m -

MMI

Osan-na in excelsis.

Osanna in excelsis.

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,

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
in Thannabaur)
St

Gall,

S t i f t s b i b l i o t h e k 381

possibly

(St

Gall):

154,

216

(plus one not i n T h a n n a b a u r ,

153)

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 ' .

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

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

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.

P
P

San-

Pie

O-

Sanctus 68 ( P a n s , B i b l . N a t . lat. 10508, fo.

-ctus.

ni sunt

-san - na

Bene - die - tus

San - ctus.

ce-

-li

in

qui

Sanctus. Dominus D e -

et

ter - ra

123 )
r

-us

glori-a

tu-a.

in no-mi-ne

do-

sa-

-baoth.

ex-celsis.

ue-

-nit

-mi-ni.
(Osanna as above)

M e l o d y 216

i n T h a n n a b a u r ' s catalogue,

f o u n d fairly w i d e l y a m o n g the

earlier

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 ,

with arpeggiando

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

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.

San - ctus.

San - ctus.

Ple-ni sunt ce - li

Be - ne-di - ctus qui uenit

E x . I I . 19.4.

,j, r j r J
San-

in

glo - ri - a

no

De -

tu - a.

mi-ne

us

sa - ba - oth.

O-san-na

do-mi - ni.

in

excel-sis.

(Osanna as above)

<fth i .1
-ctus

Dominus D e -

Jrf

terra

Do-mi-nus

Sanctus 98 (St G a l l , S t i f t s b i b l . 546, fo. 68 )

i J j jTr

fl

et

Sanctus.

123 )

r
-us

-ctus

TTh J J

sa-

san-

f r r tut

-ba-oth.

p AM

Pleni sunt celi et terra g l o - r i - a

rf J s
tu-

f J r -sanna
c
fin fe xfc eJl - f f i J J f f l
f

O-

fifi Hll

p qui
O f uenit
J inf nomine
f J J doTf

Benedictus Marie f i - l i - u s

s
-mi-ni.

san-

f ' f r J J J -a.,i

-sis.

f f JfJ r

O-

f r f

f rf

-sanna

in excel-

11.20.

A G N U S

D E I

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

attribution

is s e c u r e ,

the

approximate

date

can

be

supported

indirectly.

Ordo

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

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
chants

were

performed.

Shortly

after

this,

however,

a number

of C a r o l i n g i a n

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 .

There

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
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

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

R o m a n v e r s i o n of t h e m e l o d y

838).

(registered

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 ,

Vatican

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

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,

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

verse.

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 )
v

Cologny
jL

0*0

^T+O0*0*

Ag - nus
Paris

qui tollis p e c c a -

\J

difference

De-i

v*9

JL

De - i

m
Ag - nus

mw0m0 0W+TZ#g

qui

tol-lis

-ta
x-k

m 0

mundi

-*

misere-

4w

sm

pec - c a - t a

JL

mun-di

b e t w e e n the second verse a n d the others

-re

^wV+m'm

no-

-bis.

-mi

mi-se-re-re

no-

b e i n g the l o w e r start.

1
-bis.

Such

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

O f these, 34,

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 )
XVIII

114

IX

136

IV

164

XVI

209

X V

220

II

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

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

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

figures

of c o u r s e v a r y f r o m

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 .
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

i n different sources,

and

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

30

17

21

31

Sanctus

31

20

23

26

Agnus

36

19

27

19

Kyrie

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
a few

fifteenth-

and sixteenth-century

sources. T h e mensural notation indicates a

168

//. Chant

Genres

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 )

v

Ag-

flJ .1 r

ii

-nus

De -

qui

tollis peccata mun-di

mise-re-re
do-na

tollis peccata

mise-re-re

-bis.

mun-di

(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 ,

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

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.

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 '

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 .

L i k e w i s e u n k n o w n i n any

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

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

be

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

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

text.

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,

w i t h bb

stretched

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

or contracted

(c

i n eastern

sources),

e n d i n g aGEG.

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.

These
first

the
are
is

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

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
verses,

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 .

Recitation-type

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,

123, P a l M u s 6,

repertories

316).

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

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

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
Vatican

II.

170

//. Chant

Genres

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 )

v

Credimus in u-num De-um

patrem om-nipo-tentem

factorem

caeli et

k
9

m *

uisibilium homnium

et

*-

m *

inuisi-bi-li -um conditorem

filium D e - i uni-genitum

ex patre natum ante omni-a secula

et in unum dominum Ihesum Christum

Deum uerum

<r

de D e - o uero

terrae

Ik

genitum non factum homo-u-si-o

patris

per quern omni-a facta sunt

qui propter nos et propter nostram salutem descendit

Z
Z

~*0

Natus ex M a r i - a uirgine homo factus

et sepultus

Ascendit ad caelos

in-de uenturus in g l o - r i - a

passus est sub Ponti-o

t e r c i - a di-e surre-xit

et incarna - tus est de spiritu sancto

&,
3C

sedet ad dexteram

cuius regni non erit

cum patre et f i - l i - o a-dorandum

finis

ex patre et f i - l i - o
*

patris

iudica-re uiuos et mortuos

et in spiritum sanctum dominum et uiuificantem

'

X,

c r u c i - f i - x u s mortu-us

" m

et conglorificandum

procedentem
7k

9*

qui locutus est per prophetas

et unam sanctam catholicam atque apostolicam aecclesi-am

in remissionem peccatorum

confitemur unum baptisma

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

composition

centuries
becomes

record

57 f o r t h e

strikingly

evident),

fifteenth
44

century

for

the

(the

first

sixteenth,

when new

110

for

the

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
see

this enormous

p r o d u c t i o n i n a proper perspective,

p l a i n c h a n t i n these centuries

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

T h e catalogues

of t h e o t h e r

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

( 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 ,

en

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

Qui propter nos homines,

i l - - .

'

de Spiritu Sancto

Crucifixus etiam pro nobis:

di-e,

Marseilles, 1872, p . 116*)

et propter nostram salutem

Et incarnatus est

romain,

secundum Scripturas.

u^
9

descen - dit de coe-lis.

ex Maria Virgine:

E T H O M O F A C T U S EST.

sub Pontio Pilato passus, et sepultus est.

Et ascendit in coelum:

Et resurrexit tertia

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',

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

1934; de G o e d e 1965; Eggen

(i)

NG.

M M S 1, 3, 4; P a l M u s 15, 18; V e c c h i , 1955.

1968.

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

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

later

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

section

below (v).
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

'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

u n d Prosa')

have

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

with Parallel-Verse

Sequences

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

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

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
Reichert

1949 a n d S c h l a g e r

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

each

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.
Claris

vocibus

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;

E x . 11.22.3 g i v e s t h e start o f Eia recolamus,

Eia

recolamus

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

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

vocibus,

the two are

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

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

vocibus.

T h i s is a characteristic

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

vocibus

a n d t h e e a s t e r n Eia

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

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

canamus

a n d t h e e a s t e r n Sancti

baptiste

Organicis

( 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

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

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

Ji

Diuina
Resultet

robusto
uirtutum

Ast armonia
Mixta castitas

M.

vocibus ( O x f o r d , B o d l . L i b . B o d l e y 775, fos. 122 ,

v

fi

M .

tetrachorda
pia
lira

fi

plectro
Deo

I\

docta
sonans

f
hec diuina
est quas intra

175

Sequences

sonore
in sede

manus perite
faciat.
nunc dramata dulcissona.

fl

uirtutum
locata

E x . I I . 2 2 . 3 . Start of sequence Eia recolamus

Cas. 1741, fo. 83 )

141 )

r
liquidissima.
mixto lidica.

(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.

A/f

E - ia re-co - la-mus laudibus pi - is digna.

cT

Hu-ius di - e - i c a r - m i - n a
Noctis in-ter n e - b u - l o - s a

A.

hA

r.

in qua nobis lux o - ritur

pe-re-unt nostri criminis

_ 0 ^

y
gratis - si-ma.
umbra-cu-la.

* * . . . ,

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.
x

fT

J\

Gemit c a p - t a pestis an-ti-qua

Ho-mo lapsus o-uis abduc-ta

</l

Jl

"

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

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
3X

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 ,

Organicis

canamus

baptisteor

( 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

s h o u l d o n e say t h a t v e r s e 1 of Organicis

verse 1, of Sancti

baptiste*?

V e r s e 4 of Organicis

represented by the f o r m u l a A A B , A A B , A A C ,

is c o m p l e x . Its m e l o d y m a y b e

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
baptiste

Sancti

c o r r e s p o n d s to v e r s e I X , n o t

Sancti

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

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'.

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

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

II.

E x . 11.22.4. Sequence Organicis

~9

canamus

Chant

Genres

_r

(Orleans, B i b l . M u n . 129, fo. 166 )

modulis

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

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)

9ZL

Qua si-ne c u n c t a . . .
Qua cum o m - n i - a
(4)

# '

f_

Qua ius-ti be-ne

fi-unt dis-so-na
fi-unt c o n s o - n a

mora-ti

'

'

l :

ri - te

9
... melli-flu-am me-lo-di-am.
reddet su-auem simpho-ni-am.
0
.11
9

necnon et f r i - u o - l a .
necnon u - ti - li - a.

'

'

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

A-

consor-ci-um

90-

me-re - amur in ce-lesti

pa-tri-a.

E x . I I . 2 2 . 5 . Sequence Sancti

i
i
i

mm

Sancti

(St G a l l , S t i f t s b i b l . 546, f o . 124 )

baptiste

'

*~

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

~9

ad - i-pis - camur.
le - ticongaudent.

"

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

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.

in e - is i n - u e - n i - a t .
stude-as a b - s o l - u e - r e .

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

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

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
a n d 2 i n Organicis
i n Sancti

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>

baptiste.

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 ,

w h i c h is a b s e n t

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

Organicis

has c o n s t a n t

whereas

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

have a d o u b l e - v e r s i c l e verse

5.

Is t h a t

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)

later

argues

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

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 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

musical

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 .
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 .

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,

In

some

C r o c k e r 1977, c h . 3 ; a l s o t h e

dec,

c h . 6; a n d t h e m e l o d y of Lau

dum

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

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

domino

(the

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

c h . 5 ; see also H a n d s c h i n 1954,

with

( 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
154).

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

1964

and

A t its m o s t r e p e t i t i v e ( n o t a l l
eia

unica,

it has t h e f o r m X ,

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

sancto

lohanne

a n d Pangat

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
simul

simul

eia,

thought

deum
all
Pange

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

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

that

22.
Ex. II.22.6.

Sequence Pura

Al-le-lu-

-ia.

Deum

Sequences

( A n g e r s , B i b l . M u n . 97, f o .

104 )
r

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.

Quos se - ui - ti - a
Cum e x - t i n g u e - r e
i s -

-9^ -f

~r

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.

~r

-r

O Christi miran-da semper et in is-tis gra-ti - a.

Pro se passis e - t e r - n a quibus est largitus premi - a.

*H ^

*^

Ip-si laus sit nunc et in s e - c u - l a .

Z+P

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

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,

the
3;

2.

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

so

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,

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 ,

and then perhaps recurrent

f i g u r e s at

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
constant

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

motifs

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

i m p r e s s i o n of m o v e m e n t ,

surges

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 single-

m 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

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

(Crocker

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

Nationale,

lat.

1240,

has

what

early

Chartres,
sources,

became

the

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

1977,

pis.

III

and

H o l s c h n e i d e r 1978;

Winchester;

Crocker,

'Sequence',

S t a b l e i n 1975,

115,

A G , 142;

also

Frere

(see
1894,

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

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,

185, b u t e s p e c i a l l y

H a u g 1987).
A

few

sources,

such

as

Rome,

Biblioteca

Angelica

123

(PalMus

18),

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

have

(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)

as

give

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

Waesberghe

(see

1957

e.g.

(textmelismatextmelisma,
Husmann,

' O v e r het o n s t a a n ' ) .

1954,

'Sequenz

A systematic

und

a n d so o n )
Prosa'

and

has

been

Smits

van

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

d i s c u s s e d b y K e l l y 1985,

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,

' M e l i s m a and Prosula'.)

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

melismatic

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,

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

'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

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

victoria,

21.)

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 .

200,

( A n s e l m H u g h e s 1934, n o . 2 3 ) ,

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

quite

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
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

sceptra,
sacer,

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

u s u a l l y s u n g w i t h t h e t e x t Precamur

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

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

a n d associated sequences ( P a r i s , B i b l . N a t . lat. 776 ( a - b ) a n d

Ostende

1084 ( c - f ) )

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 da

m
1084 f.l97v

Al - l e -

-am et saluta - re

nobis.

'Precamur'

-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

1084 f.l97r 'Seq. de Ostende

in-ue-ni-at

9mfn
e
Al - l e -

-lu-

-ia.

*****

1084 f.207v 'Ostende*

f
Al - l e -

-lu-

-ia.

M** .
Z

pa-ra-tam.

(a)

Alleluia, with jubilus

(b)

V e r s e Ostende

(c)

Sequence

(d)

T e x t Precamur

(e)

Sequence (second)

(/)

Sequence (third)

nobis

(first)
nostras

f o r (c)

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

between

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 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
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

nostras

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

prosula.

(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

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

finds

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
disregard for paired versicles.

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

II.

184
E x . I I . 2 2 . 8 . Sequence Sancte

la

(fy

*'

'

'

Chant

Genres
( M o d e n a , B i b l . C a p . O . I . 7 , fo. 129 )

crucis celehremus

'

fi>

lb

2a

Signa - culum

PP

m
I

Et

sacramentum.

* '

Redempti

3a

ue-ne-randa.

triumphalem per quern sa-lu-tis

Sumpsimus culpam que protoparenti

2b

f*

Sancte cru-cis c e - l e - b r e - m u s d e - u o - c i - o - n e

ergo

graci-as

e-um e-ramus e-xules facti

pa-tri-e.

v
a-gamus

m e - r i - t i s nos quamuis in-digni

per lignum que sancte redemit crucis.

ui-si-tauit g r a - t u - i - t a

de

pi-e-ta-te.

3b
In d o - m i - n i c r u c i - f i - x i laudes consonat uo-ce

4a
O crux g l o - r i - o - s a

4b

m e l - l i - f l u - a conci-namus

Salue presente

humilem ple-be

Rex mundi f u - i s - t i

frequent

O crux ue-ne-randa

por-ta-re

t w o - a n d three-note

in

groups

que preci-um mundi

laude tu-a

di - gni

ho - di - e

can-ti-ca.

IP

fe-re tu m e - r u - i s - t i .

congregatam.

ta - len-ta.

assigned

to s o m e

syllables.

The

constant

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

diem celehremus,

was used i n the M o d e n a

phrases were stretched or

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 Early

The

earliest

manuscript

History

of the

Sequence

m e n t i o n of the sequence b y name comes

Brussels,

Bibliotheque

Royale

i n t h e late

10127-10144,

eighth-century

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

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.

Sequentiae

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
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

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

manuscripts

preface

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,

N o t k e r as

a boy

had

'St G a l l e r ' ) .

difficulty remembering

'melodiae

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

fleeing

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

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

sequentias

erant

modulati'). Notker thought

he c o u l d c o m p o s e

better texts.

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

He
been

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
collection. H i s master

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

be

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

repertory

Sometimes

lie b e h i n d

some

of

Notker's

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 ,

compositions

sometimes

(Crocker

1977).

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

(partially texted

melodies).

This

compares

with

twenty-nine

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 nine

melodies

sequences,

in

Paris,

Bibliotheque

four w i t h special phrases;

Nationale,

lat.

1240

(no

listed in v o n den Steinen

short

1946-7,

aparallel
126

and

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,

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

fit.

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 ,

it

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
fixity

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

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',

supposed

melodic

1956 ' A l l e l u i a , V e r s

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 ' . )

C r o c k e r has argued o n several occasions

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

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 .

The

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

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 .

274)

which

shares

but w h i c h cannot

be

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

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

the

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

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

(see

Exx.

11.22.4-5

above).

Here

perhaps

are s o m e

of the f e w , o l d melodies

which

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 .

Further

texts

the

familiar

sequence melodies often s o u n d very u n - G r e g o r i a n , explanations

of their

composed

arrangement
Since

in a

particular

area

would

then

of verses a n d syllable-count i n each

normally

copy

verse.

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

w r i t t e n sources

of the eleventh

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

a n a l y s i s b y B a i l e y 1 9 8 3 , Alleluias).

repeat

structures

of astonishing length were

(transcription

a n d structural

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

melodiae,

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

melodiae

tertiae.

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

o l d t h e melodiae

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

sequence.
T h e a l l e l u i a s (laudes)

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.

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

before the F r a n k i s h

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

Gallican

liturgical book

with

music survives, the question

cannot

ultimately be

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
antiquae

liturgiae

Expositio

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

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):

' 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

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

brief

acclamations.

(ed.

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)

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 ,

the

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

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

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
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 .

(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

V i c - t i m e pascha-li lau-des immolent

laudes ( C a m b r a i , B i b l . M u n . 61, f o .

-Z0T-9

_ 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.

'

Die nobis Ma - ri - a
A n - g e - l i - c o s testes

Christi-a-ni.

Agnus re-demit o-ues

Mors et u i - t a d u - e l - l o

174 )

quid ui - di-sti in ui - a
s u - d a - r i - u m et uestes

'

-r-

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 .

Credendum est magis so-li

Scimus Christum surrexisse

*
*
*
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 .

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,

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

b u t can be f o u n d i n some
( E x . 1 1 . 2 2 . 1 0 ) is

exultemus

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

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

of a l l i n s u b s e q u e n t

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

cross-references

sequence.

a n d e c h o e s are n o t , of c o u r s e ,

B u t n o w that

verses

were

composed

of

absent

regular

from

short

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 .

the older

phrases,

the

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
m o r e notes p e r s y l l a b l e .
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

are i n d e e d s e v e r a l

dazzling

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

rhyming

sequences,
Mane
finding

prima

s u c h as Stola

( w h i c h still has one n o n - a c c e n t u a l

iocunditatis

( f o r M a r y M a g d a l e n e ) , a n d Laudes

sabbati

crucis

verse),

at toll am us ( f o r t h e

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

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

crucis

MGG,

b e c a m e t h e m o s t p o p u l a r of

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

Sion salvatorem,

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
v e r s e 3 is as f o l l o w s :

3a

8 + 8 + 7

4 + 3

3b

8 + 8 + 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

scheme

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

h a r d l y t w o verses have the same s c h e m e . T h e

i n the

rhymed

office.)

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

Congauden-tes ex-ul-temus
Ad b e - a - ti N y c h o - l a - i

exultemus

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

( M a d r i d , B i b l . N a c . 19421, f o l .

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 .

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 .

81 )
v

192
( E x . 11.22.10

com.)

Cum clamarent nec incassum

Statim au-ra da-tur grata

e c - c e quidam dicens adsum

et tempesjtag f k s e ^ d a - t a

Ex
i p - s i - us tumba ma-nat
Que i n - f i r m o s omnes s a - n a t

ad uestra pre-si - di - a.
qui - e -uerunt ma-ri - a.

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

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 .

iam passi nau-f ra-gi - a.

u - b i pax et g l o - ri - 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

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

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

o - r a et implo-ra
o-ris uo-ce uo-to

W =

tu ca - n - gi - no - se menu
ne in-uoluat nos procel-la

e-ius p a - t r o - c i - ni - a.
a - u e ple-na g r a - c i - a .

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 .

of

Hodierne

lux

across the

*
Pa-ranymphus

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

repertory.

E x . 11.22.12. S e q u e n c e Paranymphus
(k> *

The

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

diet.

salutat

sa-lutat

En inquit c o n - c i - p i - e s
Iam p r e u e n - t a gra-ti - a

&

^ #
no-ui partus

W^m
uir-gi-nem

( A s s i s i , B i b l . C o m . 695, f o .

virginem

9
9
as-signans ordinem.

par-uulumque p a - r i - e s
sed de m o - d o d u - b i - a

75 )

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

Verbum carni iun-gi-tur

Nec n a - t u - r a t o l - l i - t u r

felix

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.

uir-gi-nis in u - t e - r o .
u - n i - u s ab a l - t e - r o .

no-uitas

mi - ra d i g - n a - t i - o

uerbum ua-giens

contracta

de-i-tas

la-cet in p r e - s e - p i - o .

p u - e r sa-piens

nos iu-ua nos re-ge

-ft

9m ^
0
9

00
1

nos uer-bo prote - ge

^ Z

O M a - r i - a mater D e - i
Ihesu pi - e Ihe-su fortis
V 9
fi - d u - c i - a.

many

a d v e n t of t h e
other

genres

**

nobis car-ne
3*

rhymed,

tu-ematris gra-ti-a.

accentual

verse:

1=

tu post Deum nostre s p e - i

fac nos es-se t u - e sortis

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

si-mi-lis.

3 M
**

spe respu-it in te r e - i
Ihe- su nostre dux cohor-tis

in glo - r i - a
The

(y

00
Z K

O ma-iestas h u - m i - l i s

Latin

**
#

^>

A-men.
with

the c o m p o s i t i o n of

Benedicamus

songs

and

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 .

F r e n c h centres will

have p l a y e d a part. O n e m a y speculate

how

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

Saint-

V 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

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,

252-4).

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
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

attollamns.

A p e l 1958, 4 6 3 ) ,

crucis

crucis

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

2 5 8 - 6 0 ; i n c i p i t s are t h e r e f o r e

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

city.

(see
1984,

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

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

(Misset

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 .

Their

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,

11(>,

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

d i s t i n g u i s h i n g sequences

which

originated

( 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 .

For

in

1133.
Paris

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
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).

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

dehcns

( 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
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

E x . 11.22.13. Sequence Affluens deliciis

number

of

phrases,

somewhat

like

( 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

u - b i sceptrum aureum
u - b i te amulecti-tur

in-tra regis
a-tri-a
dul-ceti-bi ca-ni-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.

p
tellus ce-li c u - r i - e
et prostra-ti sus-ci-temur
x

Te transmittit hodi - e
Ut f u - g a - t i r e - u o - c e m u r

-
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

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,

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
chants

(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;

P a u l E v a n s 1961;

' T r o p u s ' , MGG;

C r o c k e r 1966;

Paul Evans 1970, Early;

V e c c h i 1955; P a l M u s 15, 18

Facsimiles:

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)

Stablein,

Steiner, ' T r o p e ' , A G .

(Gloria).

Introduction

The

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

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

to

pre-

existing chant:
(a)

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 ;

(b)

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 ;

(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 .

(The

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

'meloform',

(/;)

'melogene',

a n d (c)

'logogene',

(a)

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

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 ,

7.)

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,

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

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 .

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

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

the

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

M e l o d i c extensions

in

Introits

of i n t r o i t p h r a s e s h a v e b e e n

partially catalogued, edited, and

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,

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

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

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

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

o n e set

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

are m e l o d i c e x t e n s i o n s

for 'Resurrexi', 'alleluia', 'me',

' 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

f a m i l i a r f r o m the

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,

of p r o c e d u r e

in

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

being

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

medio

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

ecclesie

hexameter,
of

an

is a

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

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
form

argenti

'Ambrosian' hymn

strophe?

(For

iste domini,

facsimiles

of

the

w h i c h is i n t h e
German-Swiss

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

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 ,

iste Domini,

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

( E i n s i e d e l n , S t i f t s b i b l . 121, p . 3 9 ;

G r a z , U n i v . - B i b l . 807, f o . 18 )
v

Tro.
Di-lectus

bf*

is - te

/>

do-mi-ni

fn

Io - han-nes
F

V.V _ ,

pol-let

de-cus

r ~ T

scrip-tis c u - i u s est m o - n i - t i s
c ,
i

est

a - pos-to - lus
n

Ml f

s==>

ec-cle-si

- ae.

Int.
ME-DI-0

IN
.

EC-CLE-SI-E
/

A - PE - RU-IT OS

A -

E - IUS.

/ .

/ -

Tro.
Os tu-um in-qui-ens a - pe-ri meque ip-sum il-lud pro certo sci-as i m - p l e - r e .
Jl

J)

Int.
ET IM - PLE - UIT

UMDO-MI-NUS.
<A

Tro.

J)K

1?

5sc
Qui o m - n i - a que di - xi potens est im-plere.

Int.
SPI-RI-TU
.

/*

SA - PI - E N - T I - E
.

-A

E T IN - T E L - L E C T U S .

fi

fi

/*

Int.
In-tel-lectum inquit dabo

Int.

V
*'
'*
S T O L A M GLORI - A E
9

Ps.

ti - bi et pneuma meum ponam super te.

/ ? < / / / / /

fr

IN-DU-IT
.

'

B O N U M EST CONFITERI D O - M I - N O
/

/ /

E - UM.

E T P S A L L E - R E NOMI-NI

A /T

Tro.

- / </ -

3=
Mi-li-bus ar-gen-ti

me-li-or

laus

i s - t a uel au - ri.

T U - 0 AL-TISSI-ME.

// ^ A-,

/7

( E x . 11.23.1 c o m . )

G L O R I - A PATRI ET FILIO ET SPIRITU-I

E T N U N C E T SEMPER

SANCTO

SICUT E R A T IN PRINCIPIO

ET IN S E C U L A S E C U L O R U M .

A-MEN.

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

c h . 4 6 : M G H , Scriptores

rerum

St

Gallic

101) t h a t T u o t i l o (a m o n k at S t G a l l

Sangallensium,

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

rotta

( 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
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

M M M A

c o m m e n t a r y to n o . 153, p .
The

the

403.)

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

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

idea that the

m e l o d y of E x .

11.23.1

above

contains

e c h o e s of

nor

secular

minstrelsy.

( 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,

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

which

suggests that

texts were

the

indeed

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

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

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

sources

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 ,

Tropen,

179-87

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

' 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

sanctorum,

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

eterna,

etc.)

and

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

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 t r o p e set Laus

tua;

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
T h e Regnum

sources

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

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

and

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
sections dealing w i t h prosulas.

( i v ) Added

Responsory

Melismas

H o l m a n 1961, 1963; Steiner 1973; K e l l y 1974,

1988.

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

see also H a n d s c h i n 1952,

1 4 2 - 5 ; Stablein, 'Tropus', M G G , 8 1 1 - 1 2 ;

1979,
Steiner

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

de cells, r a t h e r r a r e l y to In medio

ecclesie,

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
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)

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

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

is n o t f o u n d i n a l l s o u r c e s

( 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

of

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

( v ) Prosulas

for

Offertories

and

1973

a n d K e l l y 1974 are

excellent

repertory.)

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

1963,

m e l i s m a s , see S t a b l e i n 1961,

Smits van Waesberghe

'Zwei

Textierungen';

1957,

o n the

for

modidamina

' O v e r het o n s t a a n ' a n d

early

h i s t o r y of

texting

'Unterlegung'.)

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

(from Palermo,

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

(Saint-

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

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

of

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

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

p h r a s e ' d a n o b i s ' of

the

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

Madrid

288

Os-ten-de
Paris 776

Os-ten-de

no - bis do-mine

mi-se-ri-cor-di-am

tu-am

etsa-lu-

no-bis

mi-se - r i - c o r - d i - am

tu-am

et s a - l u -

do-mine

I
-ta-re

tu-

-urn da

no - bis.

i
-ta-re

tu-

-um

da

PROSA

Da

no - bis f a - m u l i s

PROSA

Da

no

no -

bis.

ro-go Christe tu-is glo-ri - o - se pre-mi - a regni quae

bis p o - t e n - t i in caelis

in terris im-pe-rante u i r - t u - t e

tu - i quod

*
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

Concussion

est

mare

with

p r o s u l a Angelus

Michael

(Rome,

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 )

v

AL-LE-

-LU-

-IA.

*
An-ge-

-lus Mi-chael at-que Gabri-el

pol-lorum s i - d e - r i s ag-mina

CONCUS-

- S U M EST

MA-

ET

CONTRE-

-MUIT

e - i e c t u s est de c e - l o

-2^

ARCHANGELUS

ar-

Et contremu-it montes et

-RA

U-BI

omnes conciues

con-cedentem in se - cu - la

Mare montes sa-xa et

nos

si - mulque Raphael et

Concussum ac percussum est

-RE

TER-

qui

*****

ex-pauit

Draco-nem p e s - t i - f e r u m serpes an-ti-quo

**

**

di-mersus sub terra

MI-CHA-EL

f*

DESCEN-DE-BAT

#
In

pugnantes cum Sathan duri-us

et

DE

CE-

-LO

mons Garga-ni - co u i c - t o - ri-am Christo

ex-pu-lit

e-um

ex-in-de.

Bibl.

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

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 ) .

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 .
indication

of

Bibliotheque

h o w matters

stand

N a t i o n a l e , lat.

1118,

may
the

be

deduced

largest

(see

I n t h e a b s e n c e of a

f r o m the

repertory

Aquitanian repository

Some

of
of

Paris,
'tropic'

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

1118,

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

e x a m p l e , l^etemur

parent

gaudiis.

(1983,

'Tropen')

has

discussed

the

most

their

celebrated

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,

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),

1967

for an

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,

18,

a n d V e c c h i 1955).

( v i ) Responsory

Prosulas

H o f m a n n - B r a n d t 1971; K e l l y

1977.

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

another

example

i n the tenth century.

Hofmann-

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

in Bavaria,

w h o says

that

a distinguished

musician

called

Reginold

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

sequentiarum

of a sequence:

s u b i u n x i t ' . ( A t least p a r t

'eisdemque

notulis

versiculos

of R e g i n o l d ' s very r e m a r k a b l e

instar

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,

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

fifteenth

Biblioteca de
century, which

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
studied b y Bonastre

1982). O v e r

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

actually

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

observances,

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 .
The

prosula technique

was restricted,

as f a r as r e s p o n s o r i e s

are c o n c e r n e d ,

to

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.

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 .
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

nunc

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
Saint-Maur-les-Fosses,
12584).

From

near

the eleventh

Paris, Paris,
century

Bibliotheque

onward,

N a t i o n a l e , l a t . 12044 a n d

however,

we have

sources

for a

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

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

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 ) .

206

//. Chant

E x . 11.23.4. Responsory Beatus Xicholaus

R. Be-a - tus N i - c h o - l a -

pre-be - re

lar-gi-

-us

ce-le-

-ci-o-

*I1-

com-

-mo-da

-li ni-mi-

o-por-

-tet

V . Ut a - pud

w i t h prosula Oportet devota mente ( A S ,

iam trium -pho

-sti-a

-nem.

Genres

p o - t i - tus nouit

su-is f a -

qui to - to cor-

-de poscunt ei

-rum t o - t a

co-mit - te

Christum e-ius patroci-ni - is

nos de-

Glo-ri-a

patri

et

fi-li

us

ne

Presu-li

(Repeat from
*Uli)
*l

9*

tan-to commi-te -

re.

. , ft ,

=;

w~

re.

a d - i u - u e - m u r sem - per.

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 .

-mul

-uo-ti-o -

PROSA

358)

et spi - ri - tu - i

yM.

wZ.

san

w.

- cto.

(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

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,

dedit

egros

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

for
has

360)

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

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

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

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 ,

' 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

E.

23.

207

Tropes

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.

(AS, W )

*Cum prece

de - uo-ta

0 * *KJ> y
r

famulantum s u s c i - p e

T% IT

^
V.

*3

Iam

iun - eta sponsoque tu-o

E.
E.

'

Te laudantes in t e r - r a res-pi-ce.

'

Glo-

Vi *

-ri-a

0**99

pa

tri

et

_^

a r i n r | ~

* V

"

E.
E.

...

E.

&

quam si - bi despondit rex glori - e.

sponsusque uir-gi-nis e c c l e - s i - 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.

ft

-ta. (Repeat from

*Cum prece)
r n

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

soci - a-

PROSA

00 &

*9 ''4

Christo

11

uo-ta.

'

-9-

'

* "

At-que nostra clementer susci-pe uota.

*9^

90

^
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,

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

Inviolata
was

Maria,

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
terra,
138),

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

(ed. Irtenkauf

et

1956,

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

R e g n u m p r o s u l a O rex glorie

(Vatican

IV)

with

trope

verses O gloria

( M a d r i d , B i b l . N a c . 19421, f o .

sanctorum,

22 )
v

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.

"

1
z 0 0

~0s
SOLUS ALTISSIMUS.
9

TU

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.
<*U **uV *
#
E.
E.

( 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.

00

& ^
'
* v
Sal-ue uir-go uir0

t% ^
- *
in
e-ternum.
#

0m
m0 9
"f
9
9*
S A N C T O SPI -

CUM

*
~
*
Per-ma-nebit

i'

IE-SU CHRI - S T E .
0

# H #

E.
E.

'

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.

f0*m +Vi
*
~
A-MEN.

00

* - *
-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.
T
.
.
"
~* "
det nobis f l o - r i - g e - r a s e - d e .

>* s
-9

Ut

~ ~
F r u - i semper cum e - o.

'0

*0

-fa
9

E.

,0...

^ *

-ill

9
E.

*#
Et potens es

in

e-ternum.

etc.

( v i i ) Other

Prosulas

A l t h o u g h t h e Regnum

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

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
no. 39),

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

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 ;
with

1955,

t h e t r o p e set O gloria

from Madrid,

sanctorum,

Vatican IV),

Biblioteca Nacional

19421

( 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

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 ,

glorie.

t h e t r o p e v e r s e Celestium

The

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

terrestrium,

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

t h e c h a n g e of t e s s i t u r a

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

a n d Regnum.

E,
(In

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
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

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 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

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

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

Blessed
set

sanctorum

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
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 .

Interestingly,

the

p r i n c i p l e of a s s o n a n c e

has

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
b a c k t o t h e f i r s t v e r s e Salve
and

virgo

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,

virginum,

e,

o.

The

great

majority

of

Sanctus

prosulas

are

for

the

second

'Hosanna',

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,

frequently

E x x . 1 2 - 1 3 ; also S m i t s

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 :
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 ,

S c h l a g e r 1983, ' T r i n i t a s ' ) , a n d Voci vita

again

a m o n g other

Trinitas

things

(see

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

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 . )
Very

rare

indeed

are

prosulas

where

the

Sanctus

melody

itself

is

retexted:

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

of

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 .

Tract

P a l M u s 15, f o s . 7 5 , 9 0 ,
v

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

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

(see

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 ) .
r

E x . I I . 2 3 . 7 . K y r i e Te Christe supplices
Sfr .

&

( L a o n , B i b l . M u n . 263, fo. 20 )
v

1.
3.

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-

e - ley - son.
e - ley - son.

-lei - son.
-lei - son.

2.

Te decet laus cum tripudi - o

2.

K y - r i - e-

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.

pa-ter summe un-de te pe-timus

-leison

'fi

ChristeChriste-

- l e i - son.

5.

Qui canunt ante te

5.

ChristeM

1.

-lei-son
.....

tu pre-cibus a n - n u - e

^*

e-leyson.

et no-bis semper

e-ley-son.

9 * *
-lei-son.

Clamat incessanter nostra c o n - c i - o

Mi-se-re-re fi-li

D e - i ui-ui

dicens e - l e y s o n .

no-bis

e - lei - son.

K y - ri - e-

fx

Ky - ri - e-

Kyri-e-

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

-nenter u - n a uo-ce e - l e y - s o n .

* {**9?9M

-lei - son.

di-camus i n - d e - s i -

-lei - son.

( v i i i ) Kyries

with Latin

Text, Kyrie

Prosulas,

and Kyrie

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.

5

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

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
constant

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,

preces,

2 * v , together w i t h several

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

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

articles

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

can be reconstructed).

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.

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

invocations,

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.

1.
2.
3.

IL
II.23.8.

K y r i e Fons bonitatis

Chartt

Genres

( L a o n , B i b l . M u n . 263, fo.

26 )
v

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-

Christe
Christe
Christe

-lei

- son. (also after

2. and 3.)

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

is, for all the acclamations

a n d the a l t e r n a t i n g L a t i n

verses.

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

1980,

' E a r l y Settings' and especially Boe

1989

for examples.)

The
Bjork

T h e r e is a c o n n e c t i o n

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

same

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 )

etc. (Paris, B i b l . N a t . lat. 9 0 3 , fo.

*
Christe

ei

redemptor m i s e - r e - r e

- a

om-nes d i - c i - t e

no-bis

* * *

k i r - r i - e - lei - son

mi-se-re-re

do-mi-ne

kir - r i - e - lei - son.

**

9-

V o - c e corde proclamantes regem in - ui - s i - b i - lem canen - tes

1.3.

KIRRI-E

E - L E I S O N . 2. KIRRIE

"*

il - l i .

E - LEISON.

***

-***

I - t e - r u m dicamus omnes Christe elei-son et rogemus Christum deum una uoce dicentes.

'

*0

~9

4.6.CHRISTE

E L E I S O N . 5. CHRISTE

- LEISON.

Et submissis uul-ti-bus depreca-mur tri-ni - t a - t e m re - gem aeter-num

H -

canen-tes

il-li.

7. K I R - R I - E

ELEISON. 8. KIRRIE

AM,V.rfv .f\ #<q

9*h

*4

*0

ELEI-SON.

9. KIR - R I - E

of

E-LEISON.

mass chants followed the same pattern. E x .

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

(for e x a m p l e ,

m a n y of t h o s e

in Paris,

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,

Some

of t h e c o m p o s i t i o n s c a n be

Bibliotheque

161-6).

r e g a r d e d as p r o s u l a s i n t h a t

the

m e l o d y is

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,

virga virgo d o m i n o ' (Arlt

1970,

169).

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

pueri

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

(Arlt,

165),

pre-existent

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

Ei-

-a

nunc

pu - e - ri

nunc pueri (Paris, B i b l . N a t . lat. 887, fo. 46 )

r

uo-ce precel - sa

b e - n e - d i - c a - m u s regi mag-no

-p

_^#^

De-

-o

o-

9^79

- l i m n a - t o do-

-mi-no.

le-ti c a - n a - m u s cuncti graci-a

l
e - o quod regit as-tra pontum et ar-ua nunc et

W i t h Benedicamus

. . . Verbi iungando

in

se - cla

al-

-le-

- l u - ia.

( A r l t , 163) w e h a v e w h a t s e e m s to b e a self-

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

been

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
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,

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
Benedicamus
that

. . . Verbi iungando.

this t i m e the

n e w text,

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

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 )
v

f.46v
*

*U

WW

Be-ne-di-

uo-

do-

-mi-no.

sur-rexit

-ce

le - o fortis Christus

di-ca-mus

*%>t

al-le-

'*

iungando carmina

re - ferentes

fi-li-us

De-i

Ul+ft

U*

-mus d o - m i - n o

Offertory,

and

omnes u - na

-lu-ia.

Be-ne-di-ca-

( x ) Introit,

Verbi

al-tis-si-mo.
f.46r

O-di-e

-ca-mus

Communion

Tropes;

al-le-

Sequence

-lu-ia.

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

cantandus

Carolini,
Ex.

iv.

11.23.14

est
1096;

below).

i n his youth
see

also

to have c o m p o s e d
('plane

iuvenis'MGH,

M G H , Scriptores

M a n u s c r i p t sources

rerum

for them

Gall

the i n t r o d u c t o r y verses
Poetae

Latini

Sangallensium,

aevi
80see

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

tenth

quarter

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

centuries, offertory a n d c o m m u n i o n tropes i n smaller quantities ( m a n y

churches,

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

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,

in Table

1 1 . 2 3 . 1 is r e a s o n a b l y

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 ,

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

and

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
capitals (cf. St G a l l ,

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

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 .

Some

sources

(for example, P a r i s 1118) have rather the

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,

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

progenitus.

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 ) ,

a n d elegiac d i s t i c h s , p e n t a m e t e r s ,

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 )

a n d even
discusses

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

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

verses

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

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

Psallite regi magno

D o r m i v i pater
Ita pater

RESURREXI
POSUISTI

(Introit)

Q u i abscondisti

MIRABILIS
ALLELUIA

(Psalm verse)

E n ego verus sol

DOMINE

(Introit)

Ecce pater
V i c t o r ut ad caelos
Q u o genus h u m a n u m

RESURREXI
POSUISTI
MIRABILIS

(Doxology)

Fregit inferni portas

GLORIA PATRI

(Introit)

Virgine progenitus
Quern non deservi
U t per me

RESURREXI
POSUISTI
MIRABILIS

( P s a l m verse)

Exsurge gloria mea

INTELLEXISTI

(Introit)

Postquam factus homo

In regno superno
L a u d i b u s angelorum
C u i canunt angeli

RESURREXI
POSUISTI
MIRABILIS
ALLELUIA

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

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

eleventh

possible.

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 ,

a n d also i n

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.

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 ,

Biblioteca

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.

deriving pitches.

1235 ( f r o m

Nevers,

twelfth century)

are m o s t

convenient

for

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

TI

fa*

f> n

(Worcester,

i _ (

C a t h e d r a l C h a p t e r L i b . F . 160, f o . 2 9 9 )
i

E c - c e iam Iohan - nes adest

n,
.

cu-i

IN

if

<i

...

Christus a m - p l i - o - r a

glo-ri - a

#E

do-na credens m i - s t i - c a .

ME-DI-0 EC-CLESI-E

J
C+z

ue-ne-randa

&

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 )

A-PE-RUITOS
I

E-IUS.

I /

T2

12

Quern uir - g i - n e - o
.
, .Jl
I

^. .

ET I M - P L E B I T

flo - re

sa-crauit.

E - U M D O - M I N U S SPI-RITU

< P

SA-PI

- EN-TIE

E T IN - T E L L E C T U S .

Pasto-rem no-bis tri-bu - ens.

3
13

H
STOLA GLORI - E

IN - DUIT

E - UM.

Sacro fonte potauit et uerbi Dei gratiam in toto terrarum orbe diffudit.
\

B O N U M EST C O N F I T E R I DOMINO

-5

Gra-ti - a

.J

cel-sa

i p J

E T P S A L L E R E NOMINI T U O ALTISS1ME.
.

|"-

/I

D e - i lo-hannis pee-tus

P >

U n - d e sa-lu - ti - fe - re

i"

i j

i%

J>

ad-implens. (II as above)

. J

. .

flux - erunt dog - ma-ta uitae.

(12 as above)

T7
^

W W 9

Hocque do - cen - te

pa - t ris do - cu - it

uerbum ca-ro fac-tum.

(13 as above)

(Ex.11.23.12 com.)
M
Dox.(iy

l
jk *

ft

* # ; ^ * # ;

G L O R I A PATRI E T FILIO E T SPIRITUI S A N C T O

*^

r*

E T N U N C E T SEMPER
.

Fons et
i

/i

*^

Qui f l u - e n - t a
,
i J
J

m m
i

sa - pi - en - ti - e
P

# * **

SICUT E R A T IN PRINCIPIO
Cm

E T IN S E C U L A S E C U L O R U M
J>

o - ri - go

i>

T9

p.

m s

/>

AMEN.

p .

(i

i".

' ^

me - ri - to

ad pro-pa-ganda su - e di-uini - tatis

p

e - u a n - g e - l i - i de ip - so sa - cro p e c - t o - r e hausit.
I p J
J
J
I
r/
y
J
I p. .
,

V i r - g i - n i - tatis quoque
j J
I
I
|

c p r-

ma-tri

uir-gi-ni

fi-li-um

archana.
a

(12 as above)
j-''
f .

con - ferens.
(13 as above)

Ps2
IUSTUS U T P A L M A F L O R E B I T
jf.

A4\
T12

<fo

T I B

fc

V
Et

A '

P i

-mor an-ge - lo - rum et gau-di-um Christus lo-hannem d i J

I J
C
/
I /'".
,'
J
t
I I

i** *

Quo pan-de-retur
ft

J'

SICUT C E D R U S Q U E IN L I B A N O EST MULTIPLICABITUR.

,J

f
.

ft,,

o m - n i - bus
/

'i

hunc ad ae - ter-num

J-

*
lux
.
.

gen-tibus
J

f
*

r . H

uer - bi
/

J-

-ligens.

(II as
above)

De-i.

(12 as above)

ho - di - e uocans

con - ui - ui - urn.

(13 as above)

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'.

(Planchart

Winchester
research;

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

see a l s o P l a n c h a r t

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

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

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
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,

3, 197, also t h e s t u d i e s b y W e i s s

' 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

sometimes

' s i m i l a r ' a n d ' d i f f e r e n t ' are

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

1982

' 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

have been

well surveyed b y H u s m a n n (1959),

' 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

in

numerous

articles

on individual

Trope)
tropes.

Stablein

a n d S t e i n e r ( ' T r o p e ' , NG),

H u s m a n n emphasized

(1963,

as w e l l as

their

role

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

discussed by Stablein,

E v a n s , a n d Sevestre ( C T I a n d 1980). S o m e

been

of the more

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

Testament

book.

Since

these c o n t a i n

no direct

sometimes

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.

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

find

( 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

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

the
FFFC

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

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

melodies

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

(1963,

' 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 .

The

texts

of

the

trope

verses

in

Ex.

11.23.12

are

t y p i c a l of

many

which

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

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

the

reads

est

as

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)

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 :

PUER NATUS EST NOBIS ET

EST NOBIS.

UNTO US A CHILD IS BORN, AND UNTO US A

SON IS GIVEN.

F I L 1 U S

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 ;

several

other

examples,

see
and

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)

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

m o d e 7 m e l o d i e s (cf. i n t r o i t s Aqua
rise of a

fifththe

sapientiae,

Oculi mei

Respice

domine

for the same

natus est

and

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

Ecce

t h e Deus pater
iam

Christus

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

among

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

1982).

( m i n o r ) ' , as a n i n t r o i t t r o p e (see

Strehl

1964

and

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

c o n s i s t i n g of s e v e r a l

are

the

Versus

ante

officium,

verses w r i t t e n for alternating

relatively

long

sets of s i n g e r s .

compositions,
In

Cambrai,

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 .

pre-mass

E x . 11.23.13. T r o p e verse Deus pater

suum ( P a n s , B i b l . N a t . L a t . 1119, f o . 5 ) a n d

filnun

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

est, etc. a n d start of i n t r o i t Puer natus

( G r a z , U n i v . - B i b l . 807, fos. 167 , 14 )

r

f.!67r
v
Ho#

*U

&

-di - e

an-te

can-tandus est no-bis pu-er quern gignebat in-ef - fa - bi - li - ter

fi

f*

tempo-ra pater

et

*<> 9

*D

i'9^

jj^

e - undem sub tempo - re

'*

ge-ne-ra-uit

I
Quis est is-te

di-ci-te

p
Hie e-

puer quern tarn magnis preconi-is dignum uoci-f e-ra-mi - ni

no-bis

0
es-se
p^o s - s9i - m
us.

~9
ut col-lauda-to-res

* v *
-nim est quern pre-sa-gus

et

uen-tu-rum preuidens longe an - te

e-lectus

*~
symnis-ta D e - i ad terras

preno-ta-uit

sic - que pre-di-xit.

f.l4r

PUER

N A T U S EST NO - BIS

E T FI - LI-US

D A T U S EST NO - BIS

i n - c l i t a mater.

est

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

cantandus

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 -

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.

Some

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
natus

est

(see

Stablein

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,

(1966,

' 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

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

natus

est,

i . 234-6),

Puer
while

t h a t it w a s d e s i g n e d to

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

PalMus

reluctant

to

accept.)

Ex.

11.23.14

is a t r a n s c r i p t i o n of

Hodie

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 ;

cantandus

19).

( 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
Gregorius

praesid,

queritis

in sepulchro

and

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 . )

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

100

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
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

the

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 .

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

sanctorum,

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

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

trope

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
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

Table

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 ,

(Saint-Martial

at L i m o g e s ,

f r o m L i m o g e s , tenth century),

early eleventh

R o n n a u ' s c r i t e r i a , P a r i s 1240

century).

A s one

and Paris

might expect,

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 ' .

The

1121
given
latest

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

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

'constitutive
O laudabilis

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

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

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

its text is c o m p o s e d

F o r t u n a t u s ' p o e m Temporaflorigero).

of d i s t i c h s t a k e n

from

Venantius

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

occasionally the r e c i t i n g note is

FGbb]

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

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

recitation

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

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

nostri

Like

esto

in tern's ( T 6 a n d T 8 ) .

several other genres

f o r w h i c h t r o p e verses

were p r o v i d e d ,

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 ,

Glorias

have

1984).

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

fifteenth-

est leticie

to s i x t e e n t h - c e n t u r y

(in

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
the

song

Surrexit

Christ us

hodielChrist

Universitatsbibliothek 464, a

ist

fifteenthHcentury

as t r o p e

erstanden

(in Erlangen,

south G e r m a n miscellany). A pair of

f u l l - b l o w n vernacular tropes were added o n fos. 2 9 9 - 3 0 0

v

of L i m o g e s , B i b l i o t h e q u e

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 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.

( 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

Sanctus

trope, apparently notated mensurally i n E r l a n g e n 464.

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

acclamations,

H o s a n n a prosulas i n sequence f o r m . T h e difference i n musical character of

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

turns

of phrase

carried

over

from

the main

chant.

seem

T h e source

to contain

used

for the

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
twelfth

century),

records

r e f e r r i n g t o C h r i s t a n d Martyr
a martyr.

both

p r o s u l a s o n e after

Christigratia,

the other,

Omnes

tua

gratia

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

trope sets starting

() laudabilis rex

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

O laudabilis rex

O laudabilis rex

() laudabilis rex

A d o n a y benedicte

A d o n a i benedicte

A d o n a y benedicte

O adoranda

O adoranda

() adoranda

Glorificande

Glorificande

Glorificande

Pax salus et vita (W)

Pax salus et vita ( W )

Rex s e c u l o r u m d o m i n e

TE

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)

Sanctam maiestatem (W)

D a pacem famulis ( W )
A e t e r n a m c u m Sanctis

DOMINE FILI
Pioque tuo amorc
IESU CHRISTE
Aeternam 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

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 )

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

T u lux via

O virtus honor

A u d i clemens

S c e p t r u m t u u m ( + prosula)
Rex regum ( + melisma)

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

(Paris, B i b l .

rex, etc. and S c e p t r u m p r o s u l a

Lumen

N a t . lat. 10508, fos. 2 3 , 37 )

v

f.23v

GLO-RI-A

ET

IN

IN

EX-CEL-SIS

T E R R A PAX

DE - O.

H O - M I - NI-

O l a u - d a - b i - l i s rex d o - m i - n e
x

-TIS.

De-us

LAUDA-MUS

TE.
r

a-do-ran-da

et

De-us
y

BE-NEDI-CI-MUS

TE.

(r

b e - a - ta tri-ni-tas

tr

et metu-en - de

De-us

De-us

A-DO-RAMUS

TE.

d S
Glo-ri-fi-cande
_x

T5

UO-LUN-TA-

b-

A - d o - n a - y bene-dic-te
_a

T4

-BUS B O - N E

fa*

GLORI-FICA-MUS

TE.

tr

0li

fl

g.

i***

Rex s e - c u - l o r u m

-BI

DE-US

REX C E - L E -

DO-

-MI-NE FI-LI

IE-

-SU

*1

do-mi-ne

PROPTER

qui re-de-

Ie-su

Chris-te

M A G - N A M G L O - RI-AM

-STIS.

U-

-mis-ti

CHRI-STE.

V,

mundum tu-o

GRATI - AS AGIMUS T l -

TU-

-AM.

DE - US P A T E R OM -

-NI - G E - N I - T E .

T6

sacro

D O - -MINE

NIPOTENS.

Mi - ser - tus es - to

san - gui-ne.

DO-MI-NE

DE-US.

no-stri

AG-

- N U S DEI.

Ml-SE - R E - R E

T7

FI - L I - U S PATRIS.

N O - BIS.

sa - lus

T8

MUN-DI

*^ * "
et

u i - t a ho-minum

ti - bi

glo - ri - a.

SU-SCI-PE

-LIS P E C C A - T A M U N - DI

QUI T O L - -LIS P E C C A - T A

"*
Pax

QUI T O L -

"

DE-PRE-CA-TI - O-NEM N O -

-STRAM.

(5
No-bis in ter-ris mi-se - re-re De-us

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-

e-ter-ni

sa-pi - e n - t i - a

pa-tris.

_
QUONI-AM

T U SOLUS SANCTUS.

TIO

T u lux

ui - a

if

*3 j
TU

SOLUS

.
glo-ri - a

et spes no-stra.
ir

DO-MINUS.

y,

et

-BIS.

tr

al - me.

Til O

uirtus ho-nor

De -

pa-tris

_t

^
o m - n i - u m u i - t a mo-ri

uo-lu-is-ti

pro cunctis O

TU SO-LUS AL-TIS-SI-MUS.

T12

Sceptrum regni no-

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 .

- b i - le.

E.
E.

bo-ne

rex.

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.

Sponse t u - e

*
Perma-ne-bit

Ex.

'

* &
e-ternum.

in

E.

IE-

-SU

IN G L O - R I - A

DE-I

CHRISTE.

PA -

TRIS.

- MEN.

11.23.16. S a n c t u s 56 ( V a t i c a n I I I )

prosulas Omnes tua gratia

-#

SAN-

-CTUS

and Martyr

*'

w i t h trope verses Summe

Christi gratia

"

(Madrid,

'*

pater,

S u m - m e pater de quo mundi princi - pi - a

fo

SAN-

Spi - ri-tus

O-

-MINUS D E - U S

-SAN - N A

Omnes tu-a

in

SA-BAOTH.

IN EXCELSIS.

gra-ti-a

quo

par

uir-tus

PLENI SUNT C E - L I

and

Osanna
90 )

si-ne fi - ne

uel - le.

re - fulget.

ET T E R R A G L O - R I - A T U - A .

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 .

V
quos a morte

con-stant.

Fi - li - us om-ni -po-tens per quern patris est pi-e

-CTUS

etc.

B i b . N a c . 19421, fo.

SANCTUS

DO-

di - uo pi - a - mi - ne.

CUM SANCTO S P I - R I - T U

E.

*re - demis-ti per-pe-tu - a.

( E x . 11.23.19 c o m . )

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.

2: f

fri

E & f

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.

9
9a#
Nos cum ange-lis et Sanctis s o - c i - e s .
Cum quibus ti-bi ca-namus

Martyr Christi grati - a

'

2> F

'

+~

Et re-gni lar - gi-re consor-ti - a.

Cunctorum dis-cerne-re m e - r i - t a .

SAN - NA IN EXCELSIS.
9

'

*99-

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

Simul ut an-ge-lis et Sanctis s o - c i - i .

cum...quibus D e - o ca-namus

Some

O-

- S A N - N A IN

EXCELSIS.

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 .

##

Pro cun-ctis

de - ductus

**

A-

#K*

+Q

+>

"

MI-SE-

' V

An-

+*

-RE-

No-stro-

"

99+

*>

fu - i - sti

+>

ut ag-nus

#*V

"

d e - p o s - c i - mus u o - c e

'

**V

"

*****

-LIS P E C - C A

pre-cel-

- TA

'6

"9-

-sa.

MUN-DI

NO - BIS.

v
*
-tiquus pla - stor

+9

* v

V
et

-rum cri - mi-num

le - ti

QUITOL-

- o - r u m spes a n - t i -

De-cus

9"

"

an - g e - l o - rum

-qua

ae-ter-ne

'

'9

J*

9 *

nostrorum

-9*

MISERERE

*9

Ihesu

Christe

tu-a

uo - ces ciemen-ti - a

v ^ , ^

se - cu - lo

'

+w*S

9*>9^ *9

su-sci-pi-at

et

rex

ui - te dispo-si-tor

sor - des ab-lu - e

V ^ r V ^
Pri-

+0

*
-RE

~*

9W*

im - mo-lan-dum

te

-GNUS D E - I

-#

**

ad

r e - d e m p t a ple-be c a p - t i - u a

etc. (Paris, B i b l . N a t . lat.

106 )

rum

MISERERE

*
MISERERE

-9

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.

233

Tropes

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

dextram

pat lis

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

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

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 )

etc. and Rumanian

genus, etc.

Benevento

34

A G N U S DEI

QUI TOLLIS P E C - C A T A MUNDI

Ad dextram patris re-sidens qui semper

( A G N U S DEI as above)

MISE-

sal-ua

et

-RE

parce

RE

N O - BIS.

tu-is

alme.

;4
Quos tu-o sa-cro re-de-misti cru-ore
( A G N U S DEI as above)

Rex re-gum Deus

rector an-ge-lorum

absque

sal-ua

la-

- b e c u s t o - d i pastor bo-ne.

nos in s e - c u - l a

se-cu-lorum.

Benevento 35

AGNUS

DE-I

QUI TOLLIS P E C C A T A MUNDI MISE-

Hu-manum genus qui uenis-ti sal-uare

( A G N U S DEI as above)

quos s a l -

Qui morti claustra re-surgendo fregisti

( A G N U S DEI as above)

sal-ua

Ne constent nobis pecca-torum uiti - a

quod re-

( x i i ) Farsed

lessons,

Creeds,

and

-RE-

-ua-

et

- R E N O - BIS.

-stiprote-ge

par-

-sur-ga-

-ce

dig-neris.

quos r e - d e - m i s t i .

-mus ne

pe-re-amus.

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 ,
see also H u g l o , ' E p i s t l e ' , NG).

MGG\

( S t a b l e i n , ' E v a n g e l i u m ' , MGG

T h e G o s p e l , b y contrast, was left u n a d o r n e d

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

Swiss sources). T h e Paternoster,

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 '

C r e e d w e r e also f a r s e d .
The

range

of

farsed

chants

appreciated b y listing those

sometimes

present

i n the

festal

offices

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

can

be

Circumcision

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 ,

epistle,

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

( 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

respectively.)

T a b l e 11.23.3. Farsed Apostles' Creed in Laon

263

Farse verses

Source (all for C h r i s t m a s season unless stated)

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

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

A n t i p h o n ( M a r t y r ) Beatus

eorum

vir

The

technique may

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

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).

The

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

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).

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,

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 .

C R E A T O R E M CELI E T T E R R E .

ET IN IHESUM CHRISTUM FILIUM EIUS U N I C U M .

Pro mundi re - m e - d i - o

QUI C O N C E P T U S EST D E SPIRITU S A N C T O .

EX M A R I A UIRGINE.

Sol

de

PASSUS SUB PONTIO PILATO.

CRUCIFIXUS M O R T U U S

cre-a-tum.

3
Natum an-te se - c u - l a .

carnis o-pertum

pal - li - o.

Na-tum in - ef - fa - bi - li-ter.

stel - la.

Ip - se

ET SEPULTUS.

DESCENDIT A D I N F E R N A .

139 )

Si - ne quo nichil est

p.

DOMINUM NOSTRUM.

fo.

So-lus qui tu - e-tur om - n i - a .

So-lus qui guber-nat o m - n i - a .

farsed

( L a o n , late t w e l f t h

po-tes-ta-te

tra-di-ta.

Qui nut-la perpe-traret

fa-ci-no-ra.

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.)

Un-de

ASCENDIT A D C E L O S .

S E D E T AD D E X T E R A M

descen-derat.

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

~ * *;

CARNIS R E S U R R E C T I O N E M .

UITAM E T E R N A M .

of-fen-dimus

? #;

cor-de uerbis o - pe-ri - bus.

I n - m o r - t a - li - tatem cum Christo.

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

sources

in

A H 49,

171

and

Stablein

1975,

61,

n.

601)

on

secula,

seemingly

made

f o r the p u r p o s e ,

i n alcaic metre,

Europe

Christmas

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
per

Deo

die

Eve,
am

a n d s u n g to a s i m p l e

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

a n d / o r die

ant.)

24.
E x . 11.23.20.

Latin

I n t r o d u c t o r y verse Laudes

Liturgical

237

Songs

Deo for a farsed epistle ( L i m o g e s , B i b l . M u n . 2. f o .

26 )
r

dicant

Laudes D e - o

E x . 11.23.21.

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

in lau - de cu-ius

cla - mo-res

dex -- te - ra
- p u - re - a
re - de - mit
cli - ma - ta
- ci - du - as

ex - ci

tat.

Start of farsed lesson w i t h verses Ce que Ysaies nos escrit,

etc. ( L i m o g e s , B i b l .

M u n . 2, f o . 4 6 )
v

1
2
3.

1.
2.
3.

1.
2.
3.

1.
2.

Di-ex

de . . . 1'a-ue-nement Ihe-su Crist . . .

si comme orroit encore
et l'estoille est I'autre lu - mie - re

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

-Ml

b i - e n nos do-it es-tre hu - i

hu - i doit es-tre chascuns
par cui i uindrent

9-

en re - meenbran-ce
es - cle - ri - ez
li troi roi . . .

^
# 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.

' *w
*
car il
. . . en hor-te et semont
qui trois meunieres de clar - tez

LECTI-0

Y-SA-I - E PROPHE-TE.

nos me-ismes et
nos a d o u . . . ciel

tout ...
hu - i

le mo
a - por

rit.
tez.

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

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).

Limoges

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

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

auge i n t h e S e n s a n d B e a u v a i s

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

sources

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 .

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,

(i)

1989.

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

e m p h a s i z i n g s t e p s of a

, 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
movement

t h r o u g h the

chosen

range,

a tendency

to

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

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,

conductus,

a n d cantio.

cantilena,

Hg| t h e y are

called songs.
These

songs

share

some

character^

and

rjijcQXj^ssional

( 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

hymns

sometimes

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

circumstantial, evidence.

The

same

songs
is also

extent.

a furj^tipn has
true

of

some

to

be

other

surmised
sacred

from

songs

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

in

before

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,

i m p o r t a n t jcollection of L a t i n poems,

whose contents

i n c l u d e (fos.

s o m e of w h i c h w e r e n o t a t e d

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

others

ritmus,

cannen,

planctus

p r o c e s s i o n a l h y m n s Pange

lingua

( f o r t w o l a m e n t s ) , hymnus
a n d Tellus

s e q u e n c e f o r S t M a r t i a l , Concelebremus

ac

sac?am).

an
not

i n the m a n u s c r i p t ,

( t w o of t h e m are

a n d o n e Jfrrosa

ethra),

98-143)

(probably

S e v e r a l of t h e p i e c e s

the

(a l i t u r g i c a l
are.abecedary

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

Jetter, p r o g r e s s m ^

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.

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

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

v

1931).

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

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

' 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

L i b r a r y G g . v . 35,

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

abbey,

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

taj^k

the

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 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,

a n d o n e o t h e r p i e c e , Dulce

arisen
cannen,

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
,

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)

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

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
1

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 ,

o n 'recapitulations' i n early l i t u r g i c a l sequence

II.22.ii).

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

enchiriadis

Phillips and Huglo

Stablein,

caeli

domine,

cited i n the

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

'Sequenz',

1982

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

MGG).

Given

the

lack_jof_cqnnection

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

metre-

and

rhyme-

a 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

the

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

first-

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

w h i c h are i n ^ e l a ^ j m i ^ i c a j l y .
( i n Rex

Paide

pastor

hone,

s h o w s h o w the v e r s u s i n

( 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

versicles

^ 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

BI BI

C C

B2 B2

DI

D2

/A A

BI BI

C C

B2 B2

D3 D4

J B3
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

Jndicate^^

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 ,
*

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

Omni-um
Uocis uim

;
Se-minans
Ex qui-bus

E - g o sum Hiesus benignus

Nec suffe-re p o - t u - i s - t i
c

condi-tor
ce-li-ce

*
;
fi-de-i
nos su-mus

Nos audis supplican-ter

T u pastor no-bis da-tus
^

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

B2

Vas e-lectum do-mini

Lux di - u i - n a su - bi - to
^

Qui te quoque condi-di ex ni - hi - lo

Mox fu-tu-rus doctor in e c - c l e - s i - am

"
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

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

Re-ci-ta
iu-di-ci
Cu-ius im - p e - r i - u m

Pu - ra mente pos-tulantum
S u p p l i - c a - r e r e - g i nostro

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

( i i i ) Twelfth-Centwy

1978.)

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

i n t o l i t u r g i c a l use is not clear.

W e i n r i c h , ' A b e l a r d , NG,
5

(Such

p o e t s as

Abelardsee

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.)

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

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

d o m i n o ' a n d ' D e o gratias',

fitted

neatly into

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

the

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
first

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

s o m e g e n t l e p l a y i n g o f f of the D-F
piece

finally

settles.

The

i n t e r v a l a g a i n s t the C-F-G

i a n i b i c ^ x h y t h m o f the

t r i a d u p o n w h i c h the

text is so p e r v a s i v e

that

slight

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

groups

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 .

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

course

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 ,
w h i c h the m u s i c h i g h l i g h t s rather

than disguises.

(Regular

note-grouping in

the

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,

sapientia,

Editionsband,

148.)

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.

1.

Lux om-ni fes-ta

po-pu-lo

re-cur-rit an - ni

qua n u n - c i - a n - te

an-ge-lo

ex-or-taest

c i r - c u - lo

re-dempti -

o.

*3
Nostra-que li - b e - r a - ci - o
2.

3.

'

ser-pentis

<i

ex

a - cu - le - o.

Dum omnia silencio

continerentur medio

et

perageret curriculo.

Sermo tuus O genitor

regali uenit solio

Sponsus uti de thalamo

fir
preceteris formosior

ita de matris utero

processit orbis conditor.

Pro seculi remedio

effectus est

Quo c i r c a nos

B E N E D I C A M U S DOMINO.

nox

inter altissimos

in iubilo

Deus homo.

132 )
v

4.

5.

6.

O matris alme uiscera

repleta Dei gracia

que genuerunt

tanta sacrata pignora.

Beata quoque ubera

que puer ille sugxerat.

Cui tota celi curia

tremens in laude consonat

Cui talis est

ut illi que sunt omnia

celestia

talia

potencia

terrestria

genuflectuntur subdita.

Cuius

A morte nos perpetua

misericordia

aduentu primo liberet.

Secundo nos eripiat

ab infernali fouea.

Ut in polorum regia

dicamus D E O G R A C I A S .

et admiranda bonitas.

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^

sources

begins

occasionally

record

much more

florid

compositions.

Letabundi

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

iubilemus,
a

series

of

pieces

headed

'lc

incoant

Benedicamus'

('Here

begin

the

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
=

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

than in E x . II.24.2

('

stressed

or half-stressed

lkte.4e.ngths
at l i n e - e n d s ;

unstressed):

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 ,

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

E x . I I . 2 4 . 3 . L a t i n song Lx>tabundi iubilernus

Le-ta-bun-di
O re d i g - n a

i u - b i - le-mus
pre-di - ca - ri

summa l e - t i - c i - a
fe-rit u i r g u n - c u - l a

e-c,

d-b,

etc. A n d such

b y the text,

are also of

(Paris, B i b l . N a t . lat. 1139, fo. 58')

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

cumgrati-a
per s e - c u - l a

pro-durec-to-

-xit
-rem

-4-\

9
f i - d ze - l +~
i-bus
nec perdi-dit

gra-tanter menti-bus
conceptum e - d i - d i t

E -

rue

ta

pa-

in-

-lu -

pu-

ho-

-do-rem.

(Fine)

ui-

-te-

per-dit

xit.

-r

-stis

uis

a - cer-

uer-bum

-bum

quod in n o - b i s

ha-

-bu-

-it

quod di-u

la-tu-it

tunc

pa-tu-it

000

ar

caJ

qui

con-tra

ga-

-n-unt

in0

0M

-sa-ni_

-num.
(Da Capo al P^ine)

significance:

G-b,

a-c,

b-d,

A n important

c-e.

' 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

element

i n the setting of the

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,

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

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

Z-t FP

_j

1.

Na-tus est

na-tus est

2.

I - gi-tur

i - gi-tur

quern
pax

na-tus est
qui mun-di

ho - di
di - lu -

do-mi-nus
fa - ci - nus

i - gi-tur
lamno-ua

munda - na
concrepent

fa-bri-ca
can-ti-ca

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

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-

pa-ra-di-so

red-de-ret

-ro f a c - t a c a r - n e matris

3E
nec mi - nu - it quod
a-sumens quod non

ci-pres-sus ex
ue-ni-ens
a

1.

e - rat
e-rat

pla-ta-no
Li-ba-no

hunc predixit p r o p h e - t i - a
nas-ci-turam ex M a - r i - a

2.

O n a - t i - u i - tas miran-da
O et di-es ue-neran-da

f f w

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

est
ut

in-cli-na-ta de-i-tas
re-spi-ret huma-nitas

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

1.

et

m o - r i - t u r mors

et

mo - r i - t u r mors.

2.

ut

a d - i u - u e t nos

ut

ad - iu-uet nos.

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

. 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

\riJ2a.Jaiidis homo

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 ^

( A r l t 1970,

suggesting an almost

rapt

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

1.

The -sau-rus no - ue
est
re - ue - la - tus

2.

Tarn c l a - ris
in
na -- ta - li - bus
gau- den-dum con -stat
om - ni - bus

3.

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

gra - ci ho - di -

e
e

flo - rem ger - mi - nis

al - uus uir - gi - nis

2.

se - cun - d a
cu - mu - ne

sa - Ius
fa - cit

om - n i - urn
g a u - d i - um

3.

et

uo - ci

con - so - no

cor - de

( M a d r i d , B i b l . N a c . 289, f o . 134 )

nove grade

E - ma - nu

BE - N E - D I - CA - MUS D O - M I - NO

- el

in

Is - ra

- el

E -

ma - nu

- ei

in

Is - ra

- el

E -

ma - nu - el

in

Is - ra - el

(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

Ma-ri-

laus uir-gi-nis

9
-e

et cor-dibus

-tur

et

*-

uo-ci-bus

Ma - ri-am uox

Ma - riam cor

i
proclament

hac in di-

-e

et

fi - li-um

et a c - t i - b u s

Ma - ri-

laus uir-gi-nis

^ r *

pro-ma-

Ma - nam sensus mens uigor

(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

characteristic

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

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 ;

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 ,

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

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.)

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

Uirga
Nostri
2.

Ies-se cu-ius flo-ris

ter-minis do-lo-ris

nostri

( L o n d o n , B r i t . L i b . A d d 36881, fo. 3 2 )
v

terminus

do-loris

mater es et f i - l i - a .
confert nobis
gaudi-a.

Moyses ardentem foris

nostri
terminus
doloris
uidit rubum sed ardoris
non passus incendia.
Nostri
terminus
doloris
confert nobis
gaudia.

3.

Angelici uerbum oris

nostri terminus
doloris
de supernis missum oris
te repleuit gratia.
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

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 ^

for

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

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

consilio,

s o u r c e s ( f o r e d i t i o n s see A r l t 1970,
Deusen

1982,

50.)

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

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

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,

one of three i n the m a n u s c r i p t i n the

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
J

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

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,

t h a t i s , of t h e y e r s i c l e s u n g

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

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
deu

w a s a s u b s t i t u t e f o r t h e Tu

Baris

1139

is t h e

first

of

(see

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
autem
three

Be

versicle.
twelfth-century Aquitanian

books

containing

c o n s i d e r a b l e n u m b e r s of l i t u r g i c a l s o n g s ( t h e o t h e r s are P a r i s 3 5 4 9 a n d 3 7 1 9 ) , a n d it
contains

pieces

(fo. 32 )

i n v i t e s t h e c a n t o r to b e g i n the s i n g i n g of Deus

r e f e r r i n g t o s e v e r a l l i t u r g i c a l f o r m s . De

v e r s i c l e o f a l l t h e o f f i c e h o u r s . Nunc

clericonan

concio

supernis

affero

(fo. 33 )
v

nuntium

the o p e n i n g

in adiutorium,

bears an

erased

E x . I I . 2 4 . 8 . M a r c a r o n i c s o n g Be deu hoi mais (Paris, B i b l . N a t . lat. 1139, fo. 44 )

r

B e deu hoi m a - i s f i n i r n o s t r a r a - z o s

un pauc

soi las que t r o p fo aut

lo

sos

>

l e - u e n doi c l e r c

que d i - j e n

N o s te p r e - i a m que t '

l o respos

re-mem-bre

de nos

tu autem

quant

deus qui est

^
tri-a-ras

pai-re

glo-ri-os.

_
los mais d ' a n t r e los bos.
9

' 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

1 1 9 - 2 1 ) . A n d the w o r d s

(LU

' 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

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
versus

in

iubilemus,

i n t h e m a n u s c r i p t i t is
word

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

n o t u s e d . Thrtejube

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

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

to

introduce

final

strophe:

pura sit
sentiat

a l e s s o n , ^Resonet

in tone t. w a s

hec ergo c o n c i o
q u i d dicat lectio

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

private hands
Cambridge,
century).
deo

(see

Laudes

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
Stablein

1975,

144

n . 8).

It is also f o u n d i n t h e

song-book

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

B u t i n two other south Italian sources

it is a m a l g a m a t e d

with

Laudes

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

1975,

144-5).
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

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)

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

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

story

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 ,

conclude

Compline,

Vespers. There

Laj^cjs^ P r i m e , T e r c e ,

songs for the

Sext, N o n e , and second

first

Vespers,
are

no

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

j y x i s d e a t ^ M a s s ( w h i c h has t h e Laudes

deo

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 '

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

r e a d e r : Nostrifestigaudium,

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

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 ^

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

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 ) ' ,

MGG).

(See

also J a m m e r s ,

C a n t i o \ MGG

a n d NG\

S t a b l e i n 1975,

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

75 n . 7 6 8

a n d cantio

lists

u s e d of

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 ^

are

indeed,

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).

Italian repertories

^ylis^ajlly
although

of L a t i n

laude

(if t h a t

is t h e

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

their functionas

correct

term)

the n o r t h e r n

are

also

repertories,

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.,

JJxm

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 ,

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

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

( 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 ) ,

the

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
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 .

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

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

first

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

p e r f o r m again the s i m p l e a n d essential

actions

first

congregation

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

Jerusalem

H a r d i s o n 1965,

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

example.

p a r t i c u l a r e v e n t s are

Here

interpretation, but
A

number

(see

Amalarius' remarks:
not

merely

Hanssens,

the

subject

ii. 58-9,
of

cited

meditation

by
and

re-enacted.

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 .

The

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

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

be

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

present

and topical. T h e

another

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

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
perhaps

against

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

c e n t r e d o n t h e Quern queritis
I n v i e w o f the
generally

m o d e r n connotations

avoided them,

act,

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 .

for the

of t h e

words 'drama' and 'play', I

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

is

have
rare.

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 ;

R a n k i n 1985,

'Quern

Davril

queritis';

1986). In the

tenth-

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 .
Sometimes

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

Day.

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

N i g h t Office on Easter

transisset

morning,

which appropriately

sabbatum,

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 ,
see M c G e e 1 9 7 6 ,

a n d B j o r k 1980,

'Dissemination'.)

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

and/or

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
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

t h e Quern

D-mode,

but

exchange.

and

est)

O t h e r s o u r c e s h a v e Quern

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 ,

Nazarenum

1 1 . 2 5 . 2 ) . T h e n e x t v e r s e s , Non
same

queritis
est hie

a n d Ite

s o u n d relatively higher,

' d i c e n t e ' is n o t a l w a y s p r e s e n t ,

nuntiate

are t h e n i n t h e

. . . surrexit,

like an exultant

Ex.

climax.

The

word

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

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

(C-D

a n d lesion

Nazarenum:

in transposition), while in

b e t w e e n c o m e s a s u b - p h r a s e w h i c h begins b y o u t l i n i n g the t r i a d

F-a-c.

A s a g l a n c e at t h e t e x t e d i t i o n i n C T 3, 2 1 7 - 2 3 w i l l s h o w , t h e first v e r s e Hora

est

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

psallite
sources,

though

dominus

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

after

some

it,

transcription

the
have

(two

d i s t r i b u t i o n is t h i n .
the

i n t r o i t Resurrexi.

Pistoia

manuscripts

The

d i s t r i b u t i o n of Alleluia

In
are

the

the

Pistoia

only

ones

source
with

resurrexit
used

this

for

the

particular

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

the

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

25.
E x . 11.25.1. Quern quentis

psal-li - te

'

iu-bet domnus ca - ne - re

in se - pul - chro

+~

'

Tunc dicunt . i i . aut . i i i . stantes retro altare quasi

Quern que-ri - tis

253

Dramas

(Pistoia, B i b l . C a p . 121, fo. 33 )

H o - r a est

Liturgical

e-

-ia

di - ci - te.

interrogando.

chris-ti - co - le.

scola

\\)

Cm

Ie-sum N a - z a - r e - n u m cru - ci - fi - xum

et dicunt ipsi

cae-li - co - le.

retro altare

Non est hie

*
sur-re-xit

sic-ut

*f?

pre-di - xe - rat

- m 0 > /=0~
i-

-te nun-ti - a - te

et dicunt ipsi uenientes

Al - le - !u - ia

qui-a

sur-re-xit

di-cen-tes.

in choro

al - le - lu - ia

resur-re-xit do-

-mi-nus.

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

Resurrexi

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

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

liturgical

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

Surrexit

( C I O 5079), some Swiss and south G e r m a n ones have

Surrexit

dominus
enim

de sepulchro

sicut

( 5 0 8 1 ) , W i n c h e s t e r has Cito

dixit

euntes

( 1 8 1 3 ) a n d Venite

et

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
2697) drafted into a new setting.

(CAO

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

text

with

notation

is p r e s e r v e d

i n the

two tropers

England.

from

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
and

a full

d e s c r i p t i o n of t h e

ceremony

survives i n two copies

The

Winchester,

of t h e

775,

Regularis

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

Concordia,

h e l d at W i n c h e s t e r c . 9 7 3 .

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

the

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

Concordia,

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

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

monks

wear

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
not

a historical reconstruction

of past

events,

but

a v i v i d d e m o n s t r a t i o n to

the

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

few

brief

impoverishment,

utterances.

Realism

is

marginal,

would

for the m o r e specific the r e p r e s e n t a t i o n ,

even

have

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

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

core

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

queritis

in

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
French

ascendissemainly
( i i i ) Easter

Ceremonies

credit is super

astra

sources).

from the Eleventh

Century

Onward

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

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 ,

o n e of t h e

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

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 ,

some

paraphrased:
Verse

Mark

16

Q u i s revolvet

Ecce lapis revolutus

cf.

Nolite timere

cf. 6

Quern queritis

4-5

Hiesum Nazarenum

N o n est h i e

V e n i t e et v i d e t e

cf. 6

Ecce locus

Ite d i c i t e

. . . precedet vos

Ibi e u m videbitis

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

sometimes

i n w h i c h the

expansion

of t h e

older dialogue

has

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

been

effected

et videte

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

is

already
locus,

the

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

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
the i n c i p i t i n the

example.)

E x . I I . 2 5 . 2 . Visitatio

( M a d r i d , B i b l . N a c . V . 2 0 - 4 , f o . 102

sepulchri

In die resurrectionis domini uersus mulierum

Priora

He - u

mi-se-re

cur conti-git ui - de-re mortem

sal - ua - to - ris.

Secunda

ft

He-u

redempti-o Is-rahel

ut quid tali-ter

a-ge-re uo-lu-it.

Tenia
^
con-so-la-ti - o

He-u

Insimul omnes
-

De-us

Ec-ce
Angelus

ut quid mortem sustinu-it.

Uersus Marie mulierum

#9
nostra

la-pis

* v

Quis re-uol-uet no-bis

re-uo-lu-tus

et

-p

^ F ^ ~ = :

&

l a - p i - d e m ab h o s t i - o m o - r r u - m e n - t i .

in-uenis sto-la c a n d i - d a

co - o - per-tus.
_ _ _ _ _

N o - l i - te

ti - me-re uos di - ci - t e

quern que - ri - tis ad se-pulchrum c h r i s t i - c o - l e .

Mulieres

'*

-S**

Hiesum Na-za - re - num c r u - c i - fi-xum

Angelus
*

Non est hie sur-re-xit

00

Jfr

+x

I - te

e-rat

-0

'0

'

f 0

Ec-ce

Ga-li-le-am

u-bi

ce-li-co-le.

]Jj

ui - de - te locum

-*>

po - su -

'*

u - bi

e-runt

e-um.

# #

sur-re-xit

i-bi

quia

lo-cus

* -+>

ue - ni - te et

d i s - c i - p u - l i s eius

prece-det uos in

do-minus.

di-ci-te

si-cut predi-xe-rat

* *' *

fi

po-si-tus

que-ri - mus

de

se-pulchro

sic-

ec-ce

*^

e-um ui - d e - b i - t i s

et

-ut

d i - x i t uo-bis.

Mulieres
P

_r# #,

E - a - m u s nun-ti - a - re

i*

g*

mirum quod ui - di-mus

et gaudium quod ac - ce-pi-mus

'

sur-re-xit

ue-re

i - bi

e-um

w9

"

sic-ut di-xit do-minus

*0

ui-de-bitis

'

'

al-le-

-lu-ia.
Episcopus

gra-ti-as

few

'

a l - l e - lu-ia

90

"

al - l e - l u - ia a l - l e - l u - i a

Chorus

De-o

'*

'**

pre-cedet uos in G a - l i - l e - a m

pages

represented.

al-le-lu-ia

later

i n the

al-le-lu-ia

al-le-

manuscript

-lu-ia.

further

parts

Te

of

the

De-um lau-damus.

Easter

story

are

T h e s e are t h e e n c o u n t e r of t w o d i s c i p l e s w i t h t h e r i s e n C h r i s t o n the

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

13-32). Although

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

the

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).

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

textually

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),

(the ' F l e u r y P l a y b o o k ' ) , a n d M u n i c h ,

Orleans,

Bayerische

Bibliotheque

Staatsbibliothck,

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

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

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)
(b)

t h e m u s i c a l s e t t i n g , a n d (c)

the

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 c a s t i n g of t h e text i n t o v e r s 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,

understandable

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
(one

needs o n l y to

monasticum

browse

t h r o u g h the

Easter

section

of,

say,

the

Antiphonale

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

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

with

252).

questions

about

the

musical

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

mode

CAO

Vidimus dominum

N i s i videro

D a t a est m i c h i

465

2099

Misi digitum

480

3782

Q u i a vidisti me

479

4513

5079

Pax

vobis! 0

Thoma

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

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

a n d Pax

videro

vobis n o t also m a d e i n G - m o d e ?

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 )
v

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

in lo-cum cla-uo-rum

e-ius

fi-xuram

cla-uo-rum

et

mittam

^ *

digitum meum

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 mitte in
0

et

pedes meos

et

af-fer

manum tu-am

et

ui - de manus meas

***
ia-tus meum
0

* Vfc,
et no-li

es - se

in-credu-lus sed f i - d e - l i s

al-le

Thomas uertat uultum suum ad populum

lu-ia.

dicat:

^
di - gi-tum meum in f i - x u - r a m cla-uorum

Mi-si

*
et d i - x i

d o - m i - n u s me-us

*
et manum me-um in la-tus

e-ius

et D e - u s me-us

al-le-lu-ia.

Tribus uicibus dicat Dominus meus adorans. Et hoc facto dicat Ihesus Thome:

& . . . " . .
Qui-a

ui-disti me Thomas cre-di - di - sti

al-le-lu-ia.

Sur-re-xit

be-a-ti

Tunc omnes discipuli uertant

alta uoce:

do-mi-nus

le - l u - i a

al

de s e - p u l - c h r o

le - lu - ia

qui non ui-derunt et cre-di-derunt

se ad populum. Insimul dicant

qui pro nobis pepen-dit in

li-gno

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

CAO

(not 478)

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

mode

5079

(rhymed)

Nisi fixuram (rhymed)

Pax vobis

478

4254

T h o m a nunc vulnera (rhymed)

O

Ihesu domine (rhymed)

Q u i a vidisti me

F
D
D

479

4513

260

//. Chant

Genres

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 )

v

Tunc ueniat Thomas qui defuerat.

Et stanti

in medio dicant

ei duo pro aliis:

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:

9
^
3
clauorum ui - de - ro
in la-tus mi-se-ro

Ni-si
fi-xu-ram
... at-que manum

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:

Thoma nunc uulnera

# ^

conspi - ce cor-po-ris

In-fer et d i - g i - t u m
et iam i n - c r e d u - l u s

in lo-cum uul-ne-ris
in me ne fu - e - ris

ex-emplum f i - d e - i

prebendo

et ostendat ei

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

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

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
Surrexit

dominus.

dominus

de

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

sepulchro,

already

given i n E x . II.25.2.

( T h e whole

Surrexit

is e d i t e d b y

Coussemaker and Rankin.)

Rhymed

verse

is a l s o

present

i n the M a d r i d

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

question-

a 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

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

was w o r k e d into the Easter

laudes

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 ;

sometimes

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

different.

1987)

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:

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

Quern queritis O tremule

I e s u m N a z a r e n u m . . . O celicole

Iesum Nazarenum . . . querimus

N o n est h i e s u r r e x i t

N o n est h i e q u e r n q u e r i t i s
A d monumentum

mulieres

venimus

C u r r e b a n t d u o s i m u l (CAO

2081)

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,

is t h e M a r y s ' a n n o u n c e m e n t .

monumentum

are

paschali

hie,

t e l l i n g the

acted

upon.

Ad

duo

tells h o w Peter a n d J o h n

O socii,

a n i n v i t a t i o n t o l o o k at t h e

Currebant

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
grave-clothes

est

immediately

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

Victimae

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

laudes,

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

to b e s u n g .

ist erstanden

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

revolvet

in A -

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

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

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

After

ist

erstanden

paschali

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

Te

duo

Deum
simul

Magdalena.

(Die

nobis

conclude

T h e seven

is r e p e a t e d
the

as a

ceremony.

is i n i n d i r e c t s p e e c h ,

it is

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.

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

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
is o n e

from Aquileia (Udine,

Biblioteca Arcivescovile 234,

a g r a d u a l of t h e

late

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 .

This

can

only

A u g s b u r g i n the

be

explained

first

by

Aquileia's having received

the

ceremony

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

from

German

262

//. Chant

E x . I I . 2 5 . 5 . Visitatio

sepulchri

(Antiphonale

Genres
f o . 55 )

Pataviense,

Mulieres

Quis revolver
Angelus

no-bisab o s - t i - o

Quern queri-tis
Mulieres

O tremu-le

mu-li-e-res:

*'

le - sus

l a - p i - d e m quern tegere sanctum cernimus sepulchrum.

in hoc t u - m u - l o gementes.

*Q

Na - za - re - num cru-ci - f i - xum

que - ri - mus.

Angelus

Non est hie quern queri-tis

et

Petro: q u i - a

sed ci - to

sur-re-xit

e - un-tes nun-ci - a - te

dis-ci - pu - lis e - ius

Ie-sus.

Mulieres
~9

*
a n - g e - l u m do-mini

99

Ad mo-nu-mentum ve - ni - mus gementes:

-^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:

^ >
Pe-tro

et

.
et il-le

ve-nit pri-or

.
a-li-us

dis-ci

&

ad mo-numentum

- pu - lus pre-cu-currit c i - t i - us

al-le-lu-ia.

Petrus et Ioannes cum sudario

U

Cer-ni-tis

et

%9

cor-pus non est

in

so-ci-i:

ec-ce

4>

**

se-pulchro in - ventum.

Chorus

Die no-bis M a - r i - a

quid vi-dis-ti

in vi - a.

lin-the-a - mi-na

et

su - da-

-ri-um:

25.

Liturgical

263

Dramas

Maria

'

Chorus

'

i*

Sepulchrum Christi v i - v e n t i s :

et

glo-ri - a

vi - di

re - sur-gentis.

Maria

' /

'

'

* +

su - da-ri-um et vestes.

*
pre-ce-det su-os

Die no-bis.

Surrexit Christus spes mea:

Chorus

A n - g e - l i - c o s testes:
Maria

Die no-bis...

'

'

in G a - l i - l e - a m .

Chorus

Deinde populus

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

reform movements

i n the

German

c h u r c h of t h e t w e l f t h c e n t u r y .

( i v ) Christmas

and

Epiphany

Ceremonies;

T h e a d a p t a t i o n of the Quern queritis

Rachel's

and

Mary's

Laments

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

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

Rouen gradual Paris, Bibliotheque Nationale,

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

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

usque

Bethleem,

. . . , 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
introduced.

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

Curiously, although

virgo singularis.

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
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

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
shepherds

l e a d t h e c h o i r , s i n g i n g s o l o verses

dialogue-chant
pastores

where p r o p e r . A t the

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

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

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

verse

end

another

Ouem

vidistis

A t the end

vidimus.

patris

hodie.

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

biblical and liturgical material w h i c h

one

finds

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
might

be

called

convention). T h e
o r i g i n a l basis

'pseudo-hexameters',

for

they

i m p r e s s i o n is of a c e r e m o n y

which

different

E p i p h a n y liturgy. T h u s some

often

offend

against

contains
in

Easter

(or what
classical

conceived on an independent

and

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

the

D e u m , some have

no

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

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

on

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

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

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

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

complement
a n t i p h o n Magi

is f o r m e d 'as o n

of c h o i r , assistants,
veniunt

V . Cum

Sundays',

in other

a n d so o n . T h e

cantor

words with
begins

the

the

first
usual

processional

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

Blessed

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

boy,

representing

This

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 .

sunt

munera

Mass follows, with

V.
the

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 h e S l a u g h t e r of the I n n o c e n t s ,

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 ,

is

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
complete

scene,

but

is o n e

of

many

items

apparently

pruned

for

the

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
notation)

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

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

altare

dei,

a n d t h e r e are t w o f u l l -

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

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)

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

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
some r h y m e d sequences and songs ( E x .

11.25.6).

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

differentiation between

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 ,

this cannot

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,

however,

be
of

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
D r a m a ' , A G , 3 4 ; C o u s s e m a k e r 1861,
r

s e q u e n c e t e x t s , Quid tu virgo mater,

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

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

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 ,
beneath

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 ,

E x . I I . 2 5 . 6 . Lamentatio

Rachelis

(Paris, B i b l . N a t . lat. 1139, fo. 32 )

v

Lamentatio Rachelis

0
O 0 Mo He-u
Cum
At He Ni -

dul
lim
lim
do
mi
na
que
ro
mi

- ces
dieper
sum
- chi
- tus
la- des
- um

fi-tu
Pig
mi
mi
CO
-ce
im
su

-lima
no
se
se
ram
ra

-i
- ter
- ra
~
-- ra
-- re
me
-- re
- Pi - re
- per - bus

quos nunc
quod no uo - cor
na -- to cum pos in
De p a - rum
fu - ro per - dit

pro - ge-nu -- i.
men te-nu -- i.
pu - er-pe - ra.
rum
ui-du - a.
sim
ui-ue - re.
0
per- d e - re.
de - trun - ca - re.
re
re -- pie - tus.
par - tus.
me -- us

Angelus

9
/

CM

No-li Ra-chel
Cur tris-ta-ris
No-li
fle-re
Cu-i
na - ti
Summi patris
Hie est il - le
Qui uos fa-cit

defle-re
pig-no-ra
et tundis
pec-to-ra
sed gaude
po-ti-us
ui-uunt fe - li - ci-us.
e-ter - n i
quern querit
e-ter -ne

fi - li-us
per-de-re
ui - ue-re.

f.

Er - go

gau-

-de.

Er - go

gau-

-de.

w h i c h w e r e o f t e n q u o t e d i n l a t e r l a m e n t s , are Planctus

ante nescia

a n d Flete

fideles

( 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

animae
1932,

1 4 7 ; S t e v e n s 1986,

with paired strophes,

rhythm

is m o r e

1 3 1 ; V e c c h i 1954,

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

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

reminiscent

of t h e s e c u l a r

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

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
songs.
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 ,

a n d it is

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 ,
Cividale

Passion

Play (Cividale, M u s e o Archeologico Nazionale C I ,

the

fifteenth-

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
Flete

fideles

animae

(the

passages are

identified by Y o u n g i . 512

n.

2).

The

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

Ceremonies;

the Fleury

Playbook;

the L u d u s D a n i e l i s

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

presentations

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
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.

B e n e d i c a m u s songs

and

similar pieces

f r o m the m a n u s c r i p t h a v e b e e n c i t e d i n 1 1 . 2 4 . T h e

d r a m a s are

the

following:

T h e Lament

fo. 32

Lamentatio

Rachelis

Latin

fo. 5 3

Hoc

mulieribus

Quern queritis

fo. 53

fo. 55

strophes
dialogue

L a t i n and Occitan strophes

Sponsus
[Ordo
(Ex.

at io

est de

Latin

prophetarum]

strophes

I I . 2 5 . 6 ) , preceded b y a responsory for the H o l y

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

The

others r e m a i n unplaceable.

Innocents,
d i a l o g u e is
The

unique

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 ,

is m o s t

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,

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

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

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 -

( 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 -

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
79).

1861,

256-

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

spices f r o m merchants,

and M a r y M a g d a l e n e ' s dialogue w i t h an angel) the

settles i n t o c o n s t a n t l y r e p e a t e d

strophes.

music

S u c h r e p e t i t i o n , as i n t h e Sponsus

play,

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
not

invariably

the

case,

however.

The

Easter

play

in

the

manuscript

Tours,

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

268

//. Chant

Genres

E x . I I . 2 5 . 7 . F r o m the T o u r s Easter play ( T o u r s , B i b l . M u n . 927, fo. 4 )

r

Tunc milites surgant

He-

-u

et

redeant ad Pilatum tristi animo

^ r * ^ #9
mi-se-ri

qui-a

quid f a - c i - m u s

quid

quern custo - di - mus.

De

ce-lo ue-nit

*f_

sur-re-xit

canendo

di - c i - m u s

qui-a

an - gelus

per-di-dimus

9ZZ

qui di-xit mu-li - e - ri-bus

do - mi-nus.

Deinde dicat Pilatus ad milites

Uos R o m a - n i

'

-0
9~
pre-cium
a c - c i - p9i - t e

mi-li-tes

et

o m - n i - b u s di - ci - te

^ *

quod uobis s u b - l a - t u r n est.

Milites simul

respondeant

*9

Pro quo genti-les

jp

fu-i-mus

^9

*9

se-pulchrum custo-di-ui-mus

magnum sonum audi-ui-mus

et in terram ce - ci - di-mus.
Item dicat Pilatus
*

Legem non ha-bu-istis

et

sed menti-ri po-tes-tis

quod disci-pu - li

ue-ne-runt

e-um sustu-lerunt.

Milites simul respondent

<*

~*

Nos ue - r i - t a - t e m di-cimus

qui-a

su-re-xit

do-mi-nus.

de ce-lo u e - n i t

an-ge-lus

qui d i - x i t mu-li - e - ri-bus

Hoc audito Pilatus dicat militibus hos uersus

V
#

_#
^
Hec e r - g o uo-lo
A d domos uestras

-p

ne uos creda - tis

et que ui-dis-tis

ut sint uestra mu-ne-ra

i - te nunc cum gaudi-o

'

que
ne

uos se-ducant
ad au-ditum

~*J~

w^

t
*

et pe - ri - re fa - ci-ant.
po-pu-li
e-ue-ni-at.

* *
0

a - l i q u a mendati-a
te - g i - t e si-lenti - o

y
Milites simul respondeant ad Pilatum

_y

I unc e n t .

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,

Bibliotheque Municipale 201).T h e

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

monastery

of S a i n t - B e n o i t - s u r - L o i r e ,

Benedictine

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

that it

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).

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

play,

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
suggest

a connection

secular

vernacular

w i t h the m e t h o d usually postulated for the performance of

epics

a n d romances

(see S t e v e n s

1986, 2 2 2 f f . ) .

T h e same

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.

remaining plays m i x traditional a n d apparently n e w material. There

is a n

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)

-0

,j

A-dam
no - uus ue - te-rem
C r e - a - to - rem re - c o - l i t

Sed Ma - ri - a
Et
Ma-ri - a

du-xit ad a s - t r a .
iam ere - a - tu - ra.

Ia - co - bi
Sa - lo - me

cum Magda - le-na.

ferunt un-guenta.

3
V

Qui-bus d i - x i t
R e - s u r - r e - xit

an-ge-lus
do-mi-nus

in ues-te
al - ba.
mor-te
cal-ca-ta.

:*fc
9

Frac - ta linquens
Re-fert secum

T a r - t a - ra
spo-li - a

et spo - li - a - ta.
uic-tor ad a s - t r a .

^7*

*"

Se de - monstrat pos-te - a
Di - lectis d i s - c i - p u - l i s

for-ma pre-cla - ra.

in G a - l i - le - a.

9
9
9
Comes factus
Et scriptu - ra

la-tens in
ui - a.
pi - us ar - cha - na.

in-ere-pat
re - se - rat

Con-ui-uans ag-nos - ci - tur

Pa-nis
red-dit f r a c - t i - o

Si - bi laus

Ludus

et

glo - ri

of B e a u v a i s ,

Danielis

pro-pri-a
lu - mi - na

for-ma.
cla - ra.

a.

s u r v i v i n g i n an early thirteenth-century

manuscript

( 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

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
e l s e w h e r e : t h u s Iubilemus

regi nostra,

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

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

cordis

voce i n t h e L a o n E p i p h a n y

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
Dei famulus,
dominus
verus

has t h e s a m e

m e l o d y as t h e B e n e d i c a m u s

s o n g Postquam

verus
celorum

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

Hie

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.

Liturgical

E x . I I . 2 5 . 9 . F r o m the Ludus Danielis

i
i
i

Dramas

271

( L o n d o n , B r i t . L i b . E g e r t o n 2615, fo. 99 )
r

(Principes)

Hie

u e - r u s De - i

fa - mu-lus

quern laudat

om - nis po - pu-lus

b*2
Cu-ius

fa - ma

pru-den-ti - e
_^

Cestui

man-da

li

est

no - ta

re - gis

cu - ri - e

rois par

nos.

Daniel

Pau-per

et

ex - u -

-lans

en-uois al

roi

par

uos.

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.

song

11.25.9).

Of

the

other

elements

mentioned

up

until

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
melius,

hec

there

is l i t t l e q u o t a t i o n

of

patimur

a n d Emendemus

in

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

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
resemble

now,

the r e p e t i t i o n technique

flung

other than the c o n d u c t u s ,

of Sponsus

to t h e l i o n s ) , a n d ,
t h e r e is n o t h i n g

a n d the m i r a c l e p l a y s i n t h e

to

Fleury

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 ' .

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.

thirteenth-century

272

//. Chant

E x . 11.25.10. F r o m the Ludus

Genres

( L o n d o n , B r i t . L i b . E g e r t o n 2615, f o . 105 )

Danielis

(Consiliarii)
-9

* * 0
obser-ua-ri
uel ro-ga-re

Nunquid Dari
Qui o - ra-re

_^

w
.
Ni te de-um

Hoc e - dictum

sta-tu-is - ti om-nibus
quicquam a n u - m i - n i b u s

.
il-lum re-um

da-remus

sic in-dictum

fu-it

le-o-nibus

a prin-ci-pibus.

(Rex)

Ve-re ius-si

me om-nibus

E x . 11.25.11. F r o m the Ludus

1.

He-u

ue-nit

*^3.

He-u

2.

S,

4. cur

he-u

he-u

hoc dampna-ti

he-u

ad-o-ra-ri

Danielis

h e - u

gen-tibus.

( L o n d o n , B r i t . L i b . E g e r t o n 2615, f o . 106 )
r

quo c a -

- o

" * *
a

-su

sor-tis

mortis.

sce-lus

in - fan-dum

^>

me d a - b i t ad

la - ce - randum.

*
^5.

Hec fera

7.

He - u

tur-ba

fe - ris

qua morte

mo-ri

6.

sic me r e x p e r d e - r e queris.

8.

me

co - gis

parce f u - r o - r i .

26.
T h e Lucius

Danielis

Offices

with

273

Verse Texts

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

thirteenth

century.

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,

metrical

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

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 ,

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

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
( w h i c h was a new genre), alleluias, sequences,
T h e t e r m histona

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 .

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 .
The

reasons

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

throughout

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

poetic

techniques.

demonstrations
St T h o m a s

of

The
piety.

majority

of

offices

O n l y a few

of C a n t e r b u r y ,

St

with

verse

t e x t s are

therefore

became widely k n o w n , such

Francis,

a n d S t D o m i n i c (the

as

local

those

for

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

for

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 )
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

were

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

1-5

N i g h t Office antiphons

1-8,

N i g h t Office

1-8,

responsories

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

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

sanctissimi

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

assonant

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 .

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 )
r

R.

Vi-dens

Ro-

-me

uir

be-a-

-tus

Anglo-

-rum for-te

pu -

e-ros

i
be-ne

in-quid

be-ne

An-gli

uul-tu

nitent ut

an-

-ge-li.

I
O-

V.

-portet

il-

-lis monstra-ri

i-

-ter

sa - l u -

-tis

-ter-

~+
Quo-

-ni-am

et

The

ip-se

do-mi-ni

ar^-^-#j
est

-ne.

re-

-gnum

gen-

-ti-

do - m i - n a - b i - t u r

m u s i c of t h e r e s p o n d , b y c o n t r a s t

**

9 *

-urn.

W^Z

por-tet...

w ith t h a t of t h e v e r s e , o w e s
T

practically

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

final

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',

' 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-'.

so

E x . 11.26.2. A n t i p h o n Gregorius

vigiliis ( A n n c c y , privately owned m a n u s c r i p t , fo.

^ ~

Gre - go - ri - us

+r
et

si

J*

-**

ui - gi - li - is

**

cor-

-po-re

-+*

con-fectus et

94

mar-ce-bat

140'

+i

ex spe ui - ge - bat

E q u a l l y u n t r a d i t i o n a l is t h e a n t i p h o n Gregorius

ie - iu - ni - is

a - ru - me.

vigiliis,

the

first

Seculorum am en.

of t h e

Lauds

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

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
comparison w i t h other

offices

a t t r i b u t e d to L e o , see

Bernard

1980,

with

further

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

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 ,

the

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

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

( 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 ) .

nevertheless
Compare,

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
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

antiphons

w h e r e a s Document
agri

make

the

is artium

usual

opening

II.26.4.
progression

t h r o u g h DGac>

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,

but
Cultor

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

w h a t Documentis

artium

a l s o d o e s i n l i n e 3, w h i l e Cultor

agri

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.

Offices

zvith

Verse

277

Texts

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)

p
irvi

V -
-

'm m

j--

Gau-de

fe-

"V
#
pa-rens Y s - p a - n i - a

-lix

no - ue pro - le

dans mundo g a u - d i - a

-V

sed tu

ra\

ma-gis

lau-

_#

CM
9*

r*

plau-de
__

Bo-no-ni-a

tan - ti

do - t a - t a glo - ri - a

_
=

-da t o - t a

patris

ma-ter e c - c l e

si-a

>__->
^

_^

no - ue lau - dis

"

f.296r

Pre - co

no - uus

pauper f u l - s i t

et

c e - l i - cus

mis-susin

Do - mi-ni-cus

fi - ne se - cu - li

f o r - m a pre-ui-sus

ca-tu-li.

f.297r

Li-ber

car-nis

u - bi

pie-no

uin-cu-lo

ce-lum i n - t r o - i - uit

s
po-cu-lo

"
- *

gustat quod s i - t i - u i t .

f.297r
,
Ad-est

au-lam

di - es

le - ti - ci - e

ce - les - tis

cu - ri - e

H E

quo be - a - tus

Do - mi - n i - cus

^ *
ci-uis

*
_p *
m a g - n i - fi - cus.

in - trat
w

a - gens s o l - l e m - n i - a .

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

156 )
r

Dominic

D o - c u - mentis

ar - ti - um

trans-i - it

e - r u - d i - t u s sa - tis

ad

stu - di - um

summe

* '

ue - ri - ta-tis.

Thomas
**i

Cul - tor

a - gri

et uul-pes a

ui

***

do-mi-ni

tri-bu-los

ne-is

a r - c e t et

jo

a-

-uel-lit

ex-pel-lit.

s u p p o r t s o r c o u n t e r p o i n t s the t e x t r h y m e . F o r e x a m p l e ,
virgineifrater

the

responsory

jfacohe

( 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

musical rhyme

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

a
b
c
c
d
d

a
B
a
B
a
B

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.)

f
f

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

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 ,

it

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.

Metre,

E x . 11.26.5. R e s p o n s o r y Post sex

R.

Post sex

an9

rm

mf2

T
da - re

Rhythm,

and

279

Rhyme

annos ( E d i n b u r g h , U n i v . L i b . 123, fo.

-nos

re-

-dit

uir

156 )
v

sta-

-bi - lis

C*m.

M-

Accent,

*9

<~

ter-

-re

tes-

-te

%j|^

uas

fra-

}j**9*

-gi-lis.

Christo

ua-

thesau-

-rum

sit

lu - pis

9~~

-ti-lis.

pre-da grex hu-mi - lis

rt*
~r9,
se

^ 9

fic-

*9

-9

V . Ne

-sis

pro

gre

ge

dat

9*

Glo-ri - a

^
^*

pa-tri

et

fi-li-o

et

pas-tor

lj

no-bi-lis.

Christo..

^*

spi - r i -

-tu - i

94

sancto.

"

Christo...

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

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 ,

R H Y T H M ,

L I T U R G I C A L

syllables

pieces.

A N D R H Y M E

I N

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
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.
'

= stressed

syllable

= unstressed syllable

= long syllable

= short syllable

/ =

caesura

to

(i) Metre

and

Stress

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

with)

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

f r o m m e t r i c a l to

verse.

d i s t i n c t i o n has t o b e b o r n e

in m i n d between

metre

(which concerns

syllable

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

b 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

syllables
are

co-

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

and

stress

are

centuries
syllable

obviously

of

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)

o n the

first

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

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

spondee

dactyl

tribrach

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

down'),

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,

or

plausus).

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

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 +

crotchet

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 .

( B e a r e 1957,

57-65 summarizes

the

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,

a t t r i b u t e d to P a u l t h e

Deacon).
(d)

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

(e)

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

( 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

catalectic,

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)

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

and

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
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

a n d so are s o m e t e x t s i n

sancta

parens.

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

lingue

gloriosi

(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

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

rather than t h r o u g h natural experience

of the l a n g u a g e . A n d it b e c a m e

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

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 ' ,

they

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

metrical

verse.

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,

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

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

i n a n t i q u i t y a n d the

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
or accent.

As Crocker

(1958, 'Musica') explains,

rhythmus

w a s the

proportional

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).

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

replaced by stress-patterns.

T h e p o e t i c feet are n o w :

t r o c h e e '.

anapaest . . '

iamb

dactyl

.'

spondee',

' t r i b r a c h ' .

the

completely

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
(various sources

secula

h a v e Laudem

and/or dicant),

which

deo

dicam

is i n t h e

per

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

therefore

'paroxytone'

(on

(falling

on

a n t e p e n u l t i m a t e ) . Laudes

the
deo

penultimate

syllable)

or

'proparoxytone'

is t h e r e f o r e ' 5 p 4- 6 p p ' .

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 ('.'.
w i d e l y used in sequences,

the

versus, liturgical dramas, a n d r h y m e d offices.

'..'..)>
Charles

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

Daughters

(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,

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,

which

means

it

is n o

earlier

than

Paris,

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

be

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 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

s t a r t o f a v e r s u s i n P a r i s 1139 ( f o .
/

Incomparabi 1iter

46 ):
v

cum iocunditate

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

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

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

same

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

1950; C r o c k e r

to be present.

It h a s b e e n

1958, ' M u s i c a ' , 9) t h a t t h e b a s i c

suggested

(see

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

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-

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

patterns

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
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.

sequences,

It is t r u e

a n d other

poetic

that

some

late-medieval

genres m e n s u r a l l y ,

sources

with

syllables

d o notate

long a n d short

hymns,

notes (for

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

exceptions

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),

and reached

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
'Rhyme'

a b r i l l i a n t apogee i n the songs

(despite its

f o r the festal

centuries.

here s h o u l d be u n d e r s t o o d

i n the broad

sense,

i n c l u d i n g assonance

( 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

(the sequence

Victimae

paschali

is a n

laudes

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

collections.

Ambrose's

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

hymns

lingua,

d o n o t use i t , w h i l e

Venantius

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 ,

is r e g u l a r l y a s s o n a n t ) . A solis ortus cardine

of S e d u l i u s i n

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

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

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.)

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 .

The

commonest

patterns

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)

'. ' .'.

-

I ^

'cursus trispondaicus'

Accentual

'. '
'.. '
'. '

( 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,

193-205.)

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 ,
by speech-pauses)

h a d e n d - r h y m e . (See

Norden

1923,

A n h a n g I;

separated

and especially

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

49).

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

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

seem

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

the

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

relatively

syllables i n

higher

notes.

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 ,

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

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).

Except for the obvious insistence o n line-endings i n a i n m a n y sequences,

end-rhyme

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 .

On

the other h a n d , there

is o f t e n a significant degree of i n t e r n a l assonance a n d

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

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

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
Examples

of assonance,

e x a m p l e , N o t k e r ' s Johannes

velox).

a l l i t e r a t i o n , a n d cursus
jfesu

planus

m a y be f o u n d i n , for

w h e r e t h e five n o t e c a d e n c e

Christo,

F-G-a-a-G

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
cursus
f

planus:
i

filii dei

esse p e r e n n i

pater revelat

dedit

custodem

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

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

of

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
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.

between

books

for

the

mass,

books

for

the

office,

and

books

for

other

3.

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

ceremonies;
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 )

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,

what

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

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,

the

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)

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

in A G .
r

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

II

reforms,

Breviaiium
Missal

ad

usum

m o d e r n Roman/Solesmes service-books before the post-

p a r t i c u l a r l y LU,
Sarum

GR,

a n d AM\

/Ml,

(b)

such

editions

( 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

as

Sarum

( 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,

1887

119-20.)

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
earliest

liturgical books.

The

last c h a p t e r

is d e v o t e d t o t o n a r i e s ,

which

are

not

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
would

have

been

performed.

As

musical

sources

they

nevertheless

aided

the

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

R O M A N I

135-224.

e d i t i o n there

are

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

are

northern

(sacramentaries)

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
T

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

(such

as

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
of m a s s

(Ordines I - X ) ,

rogations,

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

ceremonies

ordinations ( X X X I V - X L ) .
O r d o R o m a n u s I (trans.

of

Holy

Week,

etc.

(Ordines

processions,

XX-XXXIII),

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

and

earliest,

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,

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

79

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
80 -82

e n d of a treatise o n the e c c l e s i a s t i c a l

82 -84

B e d e o n t h e o r d e r i n g of E a s t e r

84 -85

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

L e n t to H o l y
85 -86
r

computus

ferias
fifth

S u n d a y of

Saturday

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
86 -88

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 ,

88 -89

O r d o R o m a n u s 3 0 B : a r r a n g e m e n t of the o f f i c e f r o m T h u r s d a y of

H o l y W e e k to t h e S a t u r d a y after
90 -115
r

Easter

gradual

115 -121

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

121 1 2 4

blessings for holy objects a n d

125 1 3 5

p r o p e r prayers for eleven masses

Rome

substances

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

was therefore

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

o r liber

sacramentorum

1978,

al.

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 ,
for consecrations,

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

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;

M c K i n n o n 1987, Music,

see M o r i n

1937;

G a m b e r 1959;

V o g e l 1986,

de

viris

302-3,

321;

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

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

Sacramentary

of t h e e a r l y

seventh

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 ,
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).

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

C h e l l e s r . 7 5 0 ( e d . M o h l b e r g et al.

1960).

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.

preserve

various versions based o n an archetype

T h e several

sources

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

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

book

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

edited by D u m a s and Deshusses,

Frankish-Gelasian sacramentaries,

has

been

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

subsequent

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

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 .

It

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
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

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
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).

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

for further copies,

has n o t s u r v i v e d , b u t

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
B i b l i o t h e q u e M u n i c i p a l e 164).

(See the e d i t i o n by Deshusses

(Cambrai

1971-9.)

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

to

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,

sacramentaries.

which

the

Franks

were

accustomed

seeing

consecrations
in

previous

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

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:

to

trans.

of t h e c i t y of

Rome.

c o m p i l e d an official supplement ( w i t h an engagingly

Vogel, 87-8).

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

the

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

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

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 .
The

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

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

of sacramentary,

lectionary,

and/or g r a d u a l w e r e m a d e .

T h e s e are

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
chant-text

incipits written i n their

margins,

sometimes

notated

have

(two examples:

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

1, f a c s .

Jammers

1952; Stablein

1975,

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

(ii)

Society).

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

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
( 5 0 2 - 4 3 ) a n d t h e Expositio
surviving

Latin

antiquae

service-books:

the

gallicanae,

a n d t h e e a r l i e s t of a l l

palimpsest Gallican

lectionary W o l f e n b u t t e l ,

liturgiae

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

fifth

to s i x t h c e n t u r y

( 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

made

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
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

been

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 .

For

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
before

t h e t i m e of G r e g o r y the

Great

( d . 604)

and remain constant

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 .

I n t h i s case,

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

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

was

occasions

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.

von

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
E D I T I O N S :

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

missarum

the s o u r c e s

edited by

as f o r i n s t a n c e

sextuplex),

i n t h e t i t l e of B r u s s e l s

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

antefonarius

ordinatus

sancto

Gregorio

per

circulum anni'.

Since

the

word

' 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,

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

S 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

graduum,

120-

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

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,

w h i c h notates

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.

A m a l a r i u s of M e t z (Prologus
PL

105,

de

online

antiphonarii,

18, e d . H a n s s e n s ,

i.

363;

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,

F r a n k s c a l l a gradale.

The

Romans

a n t i p h o n s i n a n antiphonarius.
o f f i c e , eantatorium

collect

If responsoriale

responsories

the

i n a responsoriale

a n d antiphonarius

and

r e f e r o n l y to t h e

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

chants.

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

be

1885:

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 ' ) .

( i i ) Graduals

without

Notation

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

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
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

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,

80-1

ordinatum

and A s h w o r t h

et

1958).

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
(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.

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

sung with

The
the

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

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

and

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

t h e m here w i t h the c u s t o m a r y sigla.

Brussels,

Bibliotheque Royale

Peter o n M o n t - B l a n d i n ,

10127-10144

(B

Blandiniensis), abbey

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

O r d i n e s R o m a n i (see a b o v e ,

of

St

contains

III.2).

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.)

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

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

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

office

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,

have

'Fragment').

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

(R)

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

mode

of

chants

(see

below,

I I I . 14).

They

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

sections

where they differ f r o m one another or lack

chants

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

MLS).

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 .
several places the

B l a n d i n i e n s i s s i m p l y gives the

In

rubric 'alleluia quale volueris',

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

F r a n k i s h Stetit
characteristics

angelus.

Huglo

i n s t e a d of t h e

angelorum

( 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

and identified their presence

i n several later sources,

Roman

mostly from

central Italy.
On

the

other

(9 S e p t e m b e r ) ,

hand,

all

Frankish

books

include

mass

for

St

Gorgonius

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

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

(751-68).

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 ;

f a c s i m i l e P a l M u s 11),

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

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

are

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

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

of

between

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

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

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
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

Temporale
Advent Sundays

and

III.4.1.

Sanctorale

in Roman

use

Sanctorale
1-2
St L u c y (13 D e c . )

Advent Sunday 3
E m b e r Week
Christmas
St Stephen (26 D e c . ) to St Silvester (31

Dec.)

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 . )

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

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

111.4.2.
period

have

been

amalgamated

with

the

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

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
after W h i t s u n t i d e

together.

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,

is g i v e n i n T a b l e

British Library,

A d d . 12194

i n the

(Graduale

III.4.3.

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

of Temporale

Temporale
A d v e n t Sundays

and

Sanctorale

in Frankish

use

Sanctorale
1-2
St L u c y (13

Dec.)

Advent Sunday 3
E m b e r Week
Christmas
St Stephen (26 D e c . ) to St Silvester (31

Dec.)

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

Jan.)

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

Jan.)

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

T a b l e 111.4.3. Separate

Temporale

and Sanctorale

in later medieval

O t h e r material

Sanctorale

Temporale

use

Advent Sundays 1-3

E m b e r Week
Advent Sunday 4
Christmas
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 .

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
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

G e r m a n sources,

c o m p a r e d w i t h the relatively f r a g m e n t e d

I t a l y (see b e l o w ,

IX.3).

picture for France

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,

and

early books

of

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
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 .

A s s o u r c e s of m a s s c h a n t s ,

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
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 .

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

1986)

Antiphoners

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

( ' A n t i p h o n e r ' , NG,

482)

together

in an 'antiphonarius', and both

in a 'responsoriale'.

As Huglo

points

the R o m a n s m a y thus have h a d mass a n d office

out

chants

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
from

mass

chants.

F o r these reasons,

the ' a n t i p h o n a r i i ' w h i c h

appear

in library

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

with

office

antiphoners.

Whatever

the

name

i n the

early

centuries,

' 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

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

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,

'Fragment')

ed.

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

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

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

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).

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

2 ; f a c s . P a l M u s 11/1).

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

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

Bibliotheque

Municipale

351

(ed.

Lipphardt

1965),

as w e l l

Metz,

as f r o m l a t e r

Metz

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

B i b l i o t h e q u e N a t i o n a l e , lat.

in

1085

tenth-century

sources

from

Limoges

(Paris,

and 1240); but notated A q u i t a n i a n sources

are

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

Italy

is

likewise

Silense).

noted

breviary,

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

eleventh

( t e x t e d . H e s b e r t , CAO

1),

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

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

great

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

of

graduals.

The

responsories

and

antiphons

for

the

Sundays

after

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
that

the

chants

had

once

been

assembled

in different

books.

Benedictus

and

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 ,

early t w e l f t h century

(facsimile,

P a l M u s 9).

Both

books

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 .

2),
a
are

(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

T a b l e II 1.5.1. Deployment

Books

of material

and

in two

Plainchant

Sources

antiphoners

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

L u c c a , Biblioteca C a p i t o l a r e 601

Advent Sundays 1-2

A d v e n t Sundays 1-3

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

responsories for the weekly office

a n t i p h o n s and short responsories for the

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

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

Septuagesima to the 5th S u n d a y 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

V i g i l of Ascension 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

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

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

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

Sundays

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
manuscript

these

O l d Testament

books,

or histories

(historia),

are assigned

as

follows:
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 ,

September

for October

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
In any antiphoner

the number

of p r o p e r c h a n t s

naturally varies greatly

from

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 :
1 i g i l of

Ascension

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
Ascension
first

elsewhere)

Day
Vespers:

antiphon for psalms;

responsory

(incipit only);

versicle

(incipit

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 ,

Sext, a n d N o n e

second Vespers: antiphon (incipit o n l y ) ; short responsory; versicle (incipit o n l y ) ;

Magnificat antiphon
Friday

after Ascension

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
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 ,

Sext, a n d

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 .

( 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

(1961),

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

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

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 ,

was made by

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
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

1990.)

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,

enough,

c o n s i d e r i n g the d a u n t i n g magnitude

of the repertory.

understandably
Udovich

(1980)

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 ,

O F F I C E

A R I E S

(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,

309

Lectionaries

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,

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

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

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

were

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
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

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

present.

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
have

it

in

separate

book,

because

the

weekly

office

cycle

was

performed

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 . . .

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

[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 ' ,

No

facsimile

of a l i t u r g i c a l p s a l t e r

NG).
with

notated

chants

has

been

published.

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

Romanum

a n d t h e Antiphonale

monasticum

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

present the psalter i n

usualis

first

sets o u t

the

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 ,

then

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 ,
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

n e w Psalterium

monasticum

of

1981

restores the N i g h t Office (called V i g i l s ) .

(ii)

Hymnals

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 .

Sterner, ' H y m n , I I .

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

h y m n a l was

the

other

chant-book

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

more

often

copied

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

of

quite

a different

book:

Paris

1235,

for e x a m p l e ,

is a g r a d u a l

with

large

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

of h y m n a l s u s u a l l y r e s e m b l e s

t h a t of a n t i p h o n e r s . T h e

hymns

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
hymns

will

be

g i v e n at t h e

b e g i n n i n g of the

collection.

A s an example

of

the

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

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

first

S u n d a y of A d v e n t : N i g h t O f f i c e

first

S u n d a y of A d v e n t : L a u d s

Christmas Eve:

Vespers

6. Psalters,
6

Hymnals,

Collectars,

311

Lectionaries

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

10

E p i p h a n y : Vespers a n d N i g h t Office

11

Epiphany: Lauds

12-19

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

T e r c e , Sext, N o n e , second
20-37

M o n d a y to S a t u r d a y :

Vespers

Night

Office,

Lauds,

Vespers

(no

Vespers

on

Saturday)
38-65

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

66-88

Pentecost

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

Dec.)

with a supplement
89-98

C o m m o n of S a i n t s

99-100

D e d i c a t i o n of t h e C h u r c h

Stablein's

e d i t i o n of t h e c o n t e n t s

items, i n M M M A

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

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

c o n t a i n s a l i s t of o v e r 3 6 0

sources.

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 ,

or

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

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 .

Two

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

and incipits for antiphons,

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 ,
The

earliest

(Mozarabic)

s u r v i v i n g collectar

rite:

the

(Verona L X X X I X ;

so-called

responsories,

and h y m n s .

If

the

book

i n e f f e c t , a s o r t of d i u r n a l .

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

the

early

eighth

century

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

encompass.
(i)

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

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

Collectar'),

Exeter,

third

1914-21):

collectar, i n c l u d i n g antiphons and responsories, often in full h y m n a l

eight

sequences, w i t h

t h e s t a r t of a n i n t h b e f o r e the

m a n u s c r i p t breaks

off

incomplete
(ii)

Cambridge,

Corpus

Christi

College

' 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

391

(Tortifonum

of

St

Wulstan

or

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

1958-60):

kalendar
psalter, canticles,

litany

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

chants

s u p p l e m e n t a r y collects for a m u c h fuller Sanctorale

S t T h o m a s , 21
collectar:

( S t S i l v e s t e r , 31 D e c ,

to

Dec.)

Commune

Sanctorum

and

Dedication

of

the

Church

(without

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

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
and notated

chants:

Commune

Sanctorum

Sunday Vespers and N i g h t Office

summer
Trinity

Sundays
Sunday

commemorative

offices

of t h e

Holy

Cross a n d the

Blessed

Virgin

M a r y on

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;

of s c r i p t u r e ) ,

Augustine, Jerome,
f r o m t h e Vita

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

u s u a l l y b y o n e of t h e f o u r great

Latin

C h u r c h Fathers

(Ambrose,

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

(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

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

P e r h a p s the t w o most

sanctorum).

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
sanctorum

N o v . II,

i . 1894;

n e w e d i t i o n Acta

U s u a r d ' s M a r t y r o l o g y of t h e

ninth century

Sanctorum

(PL

123,

N o v . I I , i i . 1931)

453-992;

PL

124,

(Acta
and

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

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 -

T R O P E S :

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

(Freising? early tenth century) stand 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 .
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

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

chants,

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
tropes

i n the

strict

s e n s e are

not

the

only components.

Books

c o n t a i n i n g only-

s 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

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
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

Sequenzen-

d 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 .

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,

Graduel

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

and missals,

amalgamated

are e q u a l l y d i v i d e d b e t w e e n

again u s u a l l y collected

i n sections

apart,

but

tropers,

occasionally

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

place b y an i n c i p i t . Between

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 ) ,

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 .

496

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,

Regensburg,

Bayerische

Staatsbibliothek,

elm

14322

(abbey

of

St

Emmeram,

1030s):

litany h y m n s ,

Exultet

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,

chants

(Kyries,

troped

then

untroped,

Glorias, troped

then

etc.)

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 )
Ite m i s s a est
3.

chants

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

Sicily, r.1100):
tonary
processional
Kyries, troped then untroped
Glorias, troped then untroped
alleluias
sequences
offertory verses, some w i t h prosulas

Sanctus, troped then untroped

Agnus, troped then untroped
responsory

prosulas

B e n e d i c a m u s chants, some w i t h tropes, Benedicamus

liturgical

songs

dramas

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
4.

Paris, Bibliotheque

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,

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

c):

c o m b i n e d proper tropes and ordinary-of-mass chants, distributed in liturgical order

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 ,

early 12th

c.):

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

ordinary-of-mass
untroped,

chants

etc.)

fraction antiphons

(Kyries,

1741

( a b b e y of N o n a n t o l a , late 11th

troped

then

untroped,

c.):

Glorias, troped

then

expanded eantatorium.

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

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 .

evangelium,
(b)

ante

Graduals
8.

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

o f festal

pieces

(ordinary-of-mass

chants

with

tropes,

sequences,

proper tropes, etc.)

9.

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

Limoges,

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,

preces

p r o p e r tropes
ordinary-of-mass

chants

(Kyries,

troped

then

untroped,

Glorias, troped

then

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 .

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,

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

Sarum
T E X T

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

processionals)

882Dominican);

Floyd

1990 ( E n g l i s h

monastic

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

T a b l e I I I . 8 . 1 . Contents of the Castle Acre

Special ceremonies

antiphoner.

C o n v e r s e l y , the

processional

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

sometimes

also

contain

recorded i n processionals.

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

processional

rutili).

these

And

too

were

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

book

fifteenth-century

element

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 .
Table

111.8.1 lists the occasions

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

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)

cites several

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
form.
III.9.

M I S S A L S

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 .

Emerson

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

Aboense

notatum

( D o m i n i c a n ) : Parvio 1971

E D I T I O N S

(*signifies noted missal):

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,

Herfordensis

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

components

of t h e m a s s :

chants,

prayers, and readings.

' N o t e d missal' can

main
then

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

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

and

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,

several leading churches,

8 0 - 1 ) . A n d f r o m the t h i r t e e n t h

the

century

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

(others

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

uses.

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 .

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

celebrant.

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 ,

who

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

i m p o r t a n t for the s t u d y of chant

II

1905;

B a t i f f o l 1911;

also

B R E V I A R I E S

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,

T E X T

U n n o t a t e d m i s s a l s are

repertories.

III.10.
Baumer

and Emerson).

the

S a l m o n 1959;

197-224, 2 3 8 - 4 4 .

E D I T I O N S :

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

S a l m o n 1967;

Huglo,

11.

321

Compendia

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

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

both

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
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

the

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)

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
are n e v e r t h e l e s 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

III.11.

5-6)

has

demonstrated.

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

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
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.

Bibliotheque

1 7 4 3 6 , b o t h of t h e

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)

ninth

is a b o o k

of

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
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

(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

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

interest'

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

u s e of a

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

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

liturgy.
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

Biblioteca

early

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,

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

1935;

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,

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

1964.)

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
of t h e

Cistercian

exemplar

C h o i s s e l e t a n d V e r n e t 1989,

survives i n D i j o n ,

M u n i c i p a l e 114

(see

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 ) .

Bibliotheque

The

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

(997

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

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

private

o n visitations i n the

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

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

(for H i g h

Mass)

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

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

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

(Temporale)

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

and Corpus Christi)

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

notation)

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

Sanctorum)

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,

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

[ H i l e y ] : ' P o n t i f i c a l ' , NG;

V o g e l 1986,

225-71.

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

from

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

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 .

Some

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 ' ,

DACL;

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

sacramentaries,

rituals

are

often

found

in

combination

with

marriage,

collectars

or

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,

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
monastic.

T h e ordinal may give invaluable i n f o r m a t i o n about

particular c h u r c h , a n d m a y even contain notated chant

details affecting performance.

t h e r e p e r t o r y of a

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
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

III.14.

(1985).

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

(i)

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

NG.

T O N A R I E S :

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

A t o n a r y (tonarius

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 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

s t a r t i n g w i t h Tenernus

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

' 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.

327

Tonaries

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 )
r

INCIPIT T E R C I U S T O N U S

G l o - r i - a patri et

fi-li-o

et s p i r i - t u - i

sancto

Sic-ut e-rat in p r i n c i - p i - o et nunc et semper

Tenemus ecce ar - ma.

et in secula seculorum

Sancta legi-o Agau(nensis).

A-men.

Fidelis seruus et.

Iustus germinabit. Tollite portas prin(cipes). Uideo uirum. Leto animo. Sancti qui sperant.

V A R I E T A S .II.

8>
Glo-ri-a

seculorum A - m e n .

Quando natus est.

In e-o-dem

Qui de terra est.

00;

+09

Ualerius igitur.
V A R I E T A S .III.

Beatus Uincentius.

Seculorum A - m e n .

09 +m

*
namque.

Surrexerunt

Conuocatis

autem.

Hierusalem Iherusalem.

00

er-go.

+*

Ecce concipies. Hec est quern nesciui. Ascendit

Simon Petrus.

.1111.

Glori-a

seculorum A - m e n .

w^0

0*0

0UH

Sapientia magnificat. Cum ergo.

.V.

Seculorum A - m e n .

Fac benigne. Homo quidam. D u - o homines. Cum repente.

Quasi u-nus de. M a r i - a e r - g o .

Domum istam. Pastor bonus. Ego sum pastor.

Simon Petrus.

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

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

antiphoner,

Santo

Domingo

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,

de

Silense)
(1057

unique)

i n d i c a t i n g their place a m o n g material for

the

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,

c.)

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 )
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

version

far

removed

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

from
de

the

rnusica

(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 ,

Tonaires,

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
practice

of

including

tonaries

in

compilations

of

theoretical

writings.

Such

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 ,
Musica

enchiriadis,

Commemoratio

brevis,

Alia

rnusica,

and

a treatise

on

the

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

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

actual

(north-east

enchiriadis

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
mode. T h e tenth-century
b i b l i o t h e k 79,

E i n s i e d e l n s o u r c e of t h e Enchiriadis,

E i n s i e d e l n , Stifts-

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

H u g l o 1 9 7 1 , Tonaires,

(see

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

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

into

the

tonary

of

the

fifteenth-century

Utrecht

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,
i n the

Utrecht

antiphoner

Utrecht

Tonaires,

century

tonary

Dialogus

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,

406

de rnusica

antiphoner

are

Utrecht,

183. T h e t w e l f t h -

borrows from both

the

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

( 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

brevis

p s a l m o d y ' , as H u g l o p u t s it ( 1 9 7 1 , Tonaires,

64).

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

and

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

each

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.

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 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,

as t h e m a n u s c r i p t c a l l s it) o f

tone

* denotes

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,

a p p e n d e d the l i t u r g i c a l occasion for each

Tu
Fac

in

Si in digito
Lignum
Tuam
Petms
Ft

I n v e n t i o S . C r u c i s (3 M a y )

autem

S t P e t e r (29 J u n e )

viderunt

Easter

illis

Easter M o n d a y

cum

quidem
sum

pastor

Si quis diligit

Serue

vir qui

Ouidam
Sancti

2 n d S u n d a y after

Easter

2 n d S u n d a y after

Easter

Pentecost

bone et
pro

et

turris V i g i l of A l l S a i n t s (31

qui

Oct.)

Confessors

fidelis*
sui

tempore
homo

Sunday

S t G e o r g e (23 A p r . )

inventus

lege Dei

Easter

Palm Sunday

mori

spes sanctorum

Iste sanctus
Omni

1st S u n d a y a f t e r

est
bonus

me

Sunday

et

me

Si oportuerit
Domine

S t P e t e r (29 J u n e )

servabatur

respicientes

Beatus

I n v e n t i o S . C r u c i s (3 M a y )

adoramus

quida?n

Mercennarius
Ego

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

Dei

crucem

Ft intravit
Multa

4 t h S u n d a y after E p i p h a n y

navim

bona

vite

Claudius

have

4th Sunday i n A d v e n t

Ihesu in

benigne

addition). I

chant:

Bethleem

Ascendente

34-5;

a Martyr
de libro

fecit

sperant*

I n fact t h e r e are t h r e e series h e r e . T h e

Judith

2 n d S u n d a y after

Pentecost

Martyrs
first

follows the year f r o m A d v e n t

ta

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

a n t i p h o n s h o u l d f o l l o w Iste sanctus.)

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

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

various groups of chants,

i n retaining a liturgical order w i t h i n the

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

( 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,

copy (ed.

254). ( O n e version of B e r n o ,

Vienna,

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

H u g l o 1 9 7 1 , Tonaires,

272.)

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

(see ( i i i )

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

introits a n d c o m m u n i o n s , a n d responsories

are s o m e t i m e s

have

i n c l u d e d f o r they t o o

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,

etc.)

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.

(ii) Type-Melodies

for

the Eight

Modes

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

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.

2.

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

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

quaerite

regnum

Dei

( ' F i r s t seek ye t h e

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 ,
Stiftsbibliothek
mandatum

390-391

and

related

sources,

where

the

first

text

is

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 .

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

Tonaires,

Primum
6:5).
421.

may be suffixed b y a

m e l i s m a o r n e u m a , c o v e r i n g s i m i l a r m e l o d i c g r o u n d . ( O n t h e v a r i o u s m e a n i n g s oT
' n e u m a ' see b e l o w , I V . I . i i i . )

332

///. Liturgical

E x . I I I . 14.2.

Books and

Plainchant

T y p e - m e l o d i e s f r o m a tonary (Paris, B i b l . N a t . lat. 1121, fos. 2 0 T - 2 0 5 )

V

A U T E N T U S PROTUS

A U C T O R I T A S PRIMA

wjf

Pri-mum quaerite reg-num

No-an-no - e - a - ne
P L A G A PROTI
HOC EST IUNIOR PRIMI

No-e - a - g i s
AUTENTUS DEUTERUS

No-i

PLAGA
0

Terti-a

DEUTERI

-e

hu - ic

di-esest
facta sunt
quod haec

- a - is

Quar-ta ui-gi - li - a

A U T E N T U S TRITUS

No-i - o -

De-i

Se-cundum au-tem s i m i - l e est

H O C EST A U C T O R I T A S S E C U N D A

o - e - a - ne

No-

Sources

ue-nit

ad

e - os

ID EST A U C T O R I T A S TERTII

Quinque pru-dentes intrauerunt ad nuptias

e-a-ne

P L A G A TRITI

No-

-e - a-gis

Sexta

AUTENTUS TETRARDUS

ho-ra

No-e-

super p u - t e - u m

HOC EST A U C T O R I T A S .1111.

N o - i - o - e - a - n e
PLAGA TETRARDI

se-dit

Septem sunt spiri-tus an-te thronum Dei

OC EST IUNIOR PRIMI

-a - gis

Octo sunt

be - a - ti - tu - di - nes

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

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 ) ,

the

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

3 8 4 a n d B a i l e y 1974,

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

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

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

echemata.

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

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,

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

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

= Authentus Protus

P P , P L P , or P L P R

= Plagalis Proti

AD

= Authentus Deuterus

P D or P L D

= Plagalis D e u t e r i

ATr

= Authentus Tritus

PTr

= Plagalis T r i t i

ATD

= Authentus Tetrardus

P T D or P 1 T D

= 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

H u g l o 1 9 7 1 , Tonaires,

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

///. Liturgical

Books

and

Plainchant

Sources

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 )

v

QUINTUS T O N U S

Glo-ri-a

se-cu-lorum A-

Quem glori - ficant c e - l i

glo-ri-o-sa

3 ^
uir-tutum a g - m i n a .
SEXTUS

Lo - que - bar.

Le-ta

re

Ihe - ru-sa - lem.

TONUS

Glo - ri - a

se-cu-lorum

A - men.

Pa-ter e - t e r n u s

co-e-ternus

e-ius fi - li -us

hi tres u-nus Deus

a quo cuncta salus

per quern u-ni-uersus

in s e - c u - l a

e - o-rum compar qui permanet in u - n i - t a - t e spi - r i - t u s

perso-nis tribus

or-bis ue-ge-tatur

be-ne-dictus.

In

est ui-gor u-nus

su-per omoes Deus quique c o - l i - t u r

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

Congrega-

of 1 9 4 3 .

Breton gradual Chartres,

n u m e r a l s to specify introit tones,

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

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 .
( 1 9 7 1 , Tonaires,

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 :

Huglo

15.

Identifying

and

Describing

335

Chant-Books

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,

I I I . 15.

Huglo

22-3.)

Tonaires,

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

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

places:

(i) i n t h e k a l e n d a r ; psalters,

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

in

Holy

Week

a n d Ascension week;

(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

S u n d a y s thereafter,

(1965). T e x t

i n c i p i t s of t h e series

for Easter

WTiitsun week a n d the S u n d a y s thereafter

week a n d t h e

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.

1980-81).

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,

their melodies (the melodies of

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

(1962),

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:

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

( M M M A

1).

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

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

to

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
CAO

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

1 and 2

w i l l suffice.
The

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

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
sixteen

different responsories

I I I . 15.1

(formulary

120,

117).

November) provide a

1-2

have between

I have given them i n

i n the order i n w h i c h they appear i n the oldest source,

the

them
Table

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

the

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

( f o . l l l - ) a p p e a r s i n the last c o l u m n .
r

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

1
2

3
4
5

2
10
4

6
7
8
9
10
11
12
13
14

3
7
4
5
6
8
9

5
3
6
9
8
7

11

6
7
4/5
8

1
7
2
11
4
5
3
6

9
11

8
9

10

C A O and

R
1

2
3
7
4
5
6
9
10
8

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

the

Mont-Renaud

MR

1
2

1
2

1
2

3
8
4
7

2
7
5
6
4
8
10
12
11
3

2
3
5
6
4
7
10
12
8
11

3
10
4
9
7

3
8
4
7
5
10

8
11

6
11
12

5
10
6
11
12

10

5
6

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

D u r h a m B. III.
=

Compiegne

4 + 3 + 7

Bamberg

3 + 3 + 3

Ivrea

3 + 3 + 5

Monza

4 + 4 + 3

Verona

3 + 4 + 4

= St G a l l

Rheinau

Saint-Denis

12

Saint-Maur-des-Fosses

4 + 4 + 4

Silos

4 + 4 + 4

Benevento

12

is g i v e n h e r e ; ' G \

11, h a s a l a c u n a at t h i s p o i n t . )

the

(Hartker)

3 + 3 + 4
4 + 4 + 4

M R = the M o n t - R e n a u d m a n u s c r i p t

12

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

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

the

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
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

of m a s s .

sequences,

This

(For
see

examples

of w o r k o n o t h e r m a s s

U n d e r w o o d 1982

w o r k is l a b o r i o u s ,

Graduel

and

Hiley

f o r its e f f e c t i v e n e s s

chants,

1980-1

depends

IV,

romain

office

and

both

1986,
on

the

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,

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

l a t t e r p o i n t is o f t e n

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 ? )

p h o t o g r a p h of the

and

Describing

339

Chant-Books

notation often

says

more

than

a paragraph

of

description.
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

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

(1894-32),

of

Angles and

what

Subira

(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 ,

of

N u r e m b e r g , and

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 )

are

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 ,
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

of m e d i e v a l l i b r a r i e s , e i t h e r

( G . H . B e c k e r 1885; the Mittelalterliche

Switzerland,

and

Austria;

Bibliotheks-Kataloge

Nortier 1957-8-for

original

p u b l i s h e d for G e r m a n y ,

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,

essential

documents
or

lists

1987 a n d K r a m e r 1 9 8 9 ) .

of

Notation
IV.1.

I N T R O D U C T I O N

(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.
Preliminary

(i)
In

this

chapter

first

the notational

signs

used i n the earliest

chant

sources

are

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,

commonly

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

Montpellier, Faculte

d e M e d e c i n e F I . 159 ( P a l M u s 8 ;

s h o u l d be clear f r o m the outset,

Hansen

1974).

It

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

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 ,

subsequent

centuries.

transcription.

and then

the notations

of t h e l a t e r

Middle

Ages and

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

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

phrasing,

were

concerned.

The

notation

reminded

r h y t h m , a n d d y n a m i c , together w i t h some

associated
significance

with

the

is n o t

use

of t h e

s i g n s k n o w n as t h e

n o w fully clear.

the

singer

refinements
oriscus

of

of

details

and quilisma,

E v e n after n o t a t i o n b e g a n

to be

of

performance
whose

used,

most

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

service. W e s h o u l d not, therefore,

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

m o d e r n e d i t i o n s s u c h as t h e Graduate

o r Antiphonale

Romanum,

nor regard

their

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
perfection.

( 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.

Only

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,

other

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

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

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

is d i s c u s s e d i n

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

the

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

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

signs in Montpellier,

M e l o d i c gesture
( H = higher note
M = m i d d l e note
L = lower note)

Faculte

de Medecine

N a m e i n medieval

II.

159
Montpellier

Vatican

Transcription

(* = no special

sign-tables

sign)

1. single notes
A.

II

virga

B . L (relatively h i g h i n range)
C.

punctum

2. L - H

pes, podatus

3. H - L

clivis, flexa

>

4. L - M - I I ,

etc.

scandicus

; ;

5. H - M - L ,

etc.

climacus

|- /
'>

v.

6.

L-II-M-L

pes s u b b i p u n c t i s

>

7. L - H - L

torculus

^ J

8. H - L - H

porrectus

,sa

9.

porrectus flexus

Il-L-II-L

10. L - H - L - 1 1

torculus resupinus

*#

>

'"

* *

11. repeated notes

bivirga, trivirga

A.

bistropha, tristropha

B.
C . L - H and H - L + repeated note
12. H - H - L

trigon

13. see below, I V . 3

oriscus
(not found alone)

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)

15. liquescent neumes (selection)

A . p u n c t u m 4- ascending liquescence
liquescent pes ( L - H )

epiphonus

B . virga 4- descending liquescence

= liquescent clivis ( H - L )

cephalicus

C . clivis 4- descending liquescence

ancus

= liquescent c l i m a c u s ( H - M - L )

E x . I V . 1.1. C o m m u n i o n Ego sum vhis

( 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,

vera

p . 82)
3c

4 /

158 13c 156

*

10

(A

1c

'

IA U 1C

| .

1c

in

me

2^=
E-go

sum

et

e-go

15e

IA

IA

*r

l l

ui - tis

3 2 13A

% 16

in

ra

1A

e - um

%
t

ue -

hie

16

1A

IA

I.-'

et

1C Z 13A

fert

uos

1c

pal - mi - tes qui manet

16

fructum multum

1A V ) A 1 A 3

h/

/I

#jr^
al - l e -

- l u - ia

al - l e -

( ' m a N E T ' ) . C l e a r l y t h e r e is
melodic

-lu-

flexibility

-ia.

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

context.

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 ' . )
L a t . : 'staff

virga
punctum

L a t . : 'point'

pes

L a t . : 'foot'

podatus

f r o m G k . pous> poclus:

clivis

f r o m L a t . clivus:

'foot'

flexa

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 '

'slope'

scandicus

f r o m L a t . scandere:

climacus

f r o m G k . klimax:

pes s u b b i p u n c t i s

a pes w i t h t w o lower p u n c t a

torculus

L a t . ' s c r e w of a w i n e - p r e s s '
L a t . 'stretched out'

porrectus
porrectus

'ascend'
'ladder'

flexus

a porrectus turned back d o w n

torculus resupinus

a torculus turned back up

bivirga, trivirga

t w o , three virgae

bistropha, tristropha

t w o , three

trigon

f r o m G k . trigonon:

apostrophes

oriscus

f r o m G k . horos:

quilisma

f r o m G k . kylisma:

epiphonus

f r o m G k . epi

cephalicus

f r o m G k . kephalis:

ancus

f r o m G k . agkon:

(iii)

'triangle'

'limit'?
'rolling action'

4- phone:

'added sound'

'little head'
'curve'

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 )

(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 ' .

The

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

force

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

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

triplex,

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

neuma:

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

Bautier-Regnier

1964,

5;

Hiley,

' N e u m a ' , NG).

N e u m a is a l s o t h e

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
(see

'model'

extension

III.14.ii).

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

t r e a t i s e Quid

est

cantus?

( w h i c h w i l l be referred

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,

to

accentibus

481-4).

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 s a term

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 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

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

Saint-

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

s o n o r u m signa,

inventa

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

signifies the n o n -

mentioned above.

est cantus?

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

here

' 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

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)

o r soni).

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 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),

(litterae)

A s syllables

are c o m p o s e d o f o n e
o r pedes);

o r partes).

one or

T h e bringing

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)

of

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 .
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

n o t a t i o n is r e g a r d e d

f r o m that

as e x c e p t i o n a l ,

of F r e n c h n o t a t i o n .

and a comparison

If, h o w e v e r ,

is m a d e

St

between

Gall

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),

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 ,

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
This

table

m a y be c o m p a r e d

with

Table

I V . 1.1

i n the previous

tenth

century).

section,

for

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 .

(ii) Palaeofrankish,

Laon,

Breton,

and Aquitanian

Notations

(see Plates

1-3)

Facsimiles:
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

the w i d e l y established

French-German

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
sources,

France,

type,

Palaeofrankish

signs

were

a n d s u r v i v e i n b u t a h a n d f u l of

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

( f o r a l i s t of s o u r c e s ,

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

see

'Palaeofrankish',

IV.
T a b l e I V . 2 . 1 . French

Notation

and German

notational

MontRenaud

Leipzig

London

R e p . I..93

19768

1. virga

2. p u n c t u m

3. clivis

4. pes

signs

A
j

6. t o r c u l u s

P- r

7. c l i m a c u s

/:

/-

/:

5. porrectus

8. scandicus

9. q u i l i s m a

10. oriscus
11. liquescents

o r

> So
O 0

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

figure.

Q u i l i s m a and oriscus do

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
brief,

often

entered

generalizations

in manuscripts

about

not originally designed

t h e s i g n s are s o m e w h a t

to c o n t a i n

hazardous. Those

entered

notation,
in Table

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
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 .

N o ninth-century

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
also r e l a t i v e l y scarce. C o r b i n

( 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)

argued

that

'Lorraine'

was a better

corresponded

name

to the ancient

for the type,

since

the area

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

where

it w a s u s e d

w h i c h descends

the

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

'Messine'.
survive.

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

w i t h this

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 ,

Noyon,

notation
duchy

of

L a o n , or

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 ,

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
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

T a b l e I V . 2 . 2 . Palaeofrankish,

Laon, Breton, and Aquitanian

Diisseldorf D . 1

2. p u n c t u m

3. clivis

*>

4. pes

5. porrectus

6. torculus

7. climacus

1;

: I

so

.r

rs

10. oriscus

i!

9. q u i l i s m a

11. liquescents

Paris 1084

C h a r t r e s 47

,^
0

L a o n 239

signs

1. virga

8. scandicus

notational

shape,

:: W

/ /

r
r

i
r o/

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

the

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

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
(IV.3 and

IV.5).

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

practically

its n a m e

a l l its s o u r c e s

f r o m the
originate.

area

of

(For

north-west
a survey

Frence,

of s o u r c e s ,

Brittany,
see

Huglo

whence
1963,

' 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

Chartres,

are s l i g h t l y d i f f e r e n t .

Bibliotheque

M u n i c i p a l e 47

Table

IV.2.2

(late

ninth

shows

the Breton

century;

destroyed

signs
in

of

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

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
and fall vertically (compare the c l i m a c u s a n d scandicus

( i i i ) Types Related

to French-German

Notation

forms).

(see Plate

5)

Facsimiles:
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,

at B r e s c i a a n d M a n t u a . B y

M o n z a a n d B o b b i o used the slanting G e r m a n

shapes.

Besides

this,

signs bearing a more

general

resemblance

to t h e m a i n

contrast,
French-

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

a monastic

house

i n the A b r u z z i ,

Rome,

Biblioteca

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

from

the

Catalan

surprisingly little resemblance

area

of

north-east

Spain

have

Apostolica

sources).

signs

which

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 ,

bear
three

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.

T a b l e I V . 2 . 3 . Signs related to French-Gennan

2. p u n c t u m

5. porrectus

6. torculus

J J

/I

|i

rJ

CO

\/l

7. climacus
8-. scandicus

9. q u i l i s m a

[-

/>

***

f U n

11. liquescents

G i r o n a 20

4. pes

10. oriscus

A n g e l i c a 123

3. clivis

notation
T o l e d o 35. 7

Leon 8

1. virga

Notation

ft

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

IV.2.3

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) Other Italian

Notations

(see Plates

11-13)

Facsimiles:
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

are

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

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,

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

' 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

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 .
This

is b u t

one

of m a n y

centres whose

notation

does

not

reflect

the

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

influences

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

Table IV.2.4.

Other Italian

notations

Cas.
1741

1. virga

2. p u n c t u m

3. clivis

S.Amb.
M.29

<

4. pes

Padua
A.47

Pistoia

Vat. lat.
5319

C.121

-[A

J
-v

"l

-1

A]

1/

6. torculus

7. climacus

10. oriscus
11. liquescents

[A 1
1

ft

9. q u i l i s m a

Vat. lat
10673

5. porrectus

8. scandicus

of

ro

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

Sant'Ambrogio M .

IV.2.4,

from

the

twelfth-century

manuscript

Milan,

29.)

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

differences,

to

this

family

as

central

Italian

notation.

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

Of

course,

there

are

shapes i n m a n u s c r i p t s of

the

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

IV.2.4

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

A.

47,

twelfth century),

Pistoia,

Biblioteca

Capitolare

C.

121

(Pistoia,

twelfth

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 ,

Biblioteca Apostolica Vaticana, Vat.

lat.

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
descent

is i m p o r t a n t

(particularly i n the

climacus;

the

Milanese source

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)

Examples

Ex.

IV.2.1

chapter,

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

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 ,

tenth

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

ille

servus,

Chapter

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

Library F.

N a t i o n a l e , lat.

160

(Worcester,

17296 ( S a i n t - D e n i s ,

thirteenth

century)

it: Worcester,
and Paris,

as

Cathedral

Bibliotheque

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

the

punctum,

are

or

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

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

( M o n t - R e n a u d m a n u s c r i p t , fo. 119 ;

Hie seivus

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 )

v

Mont-R.

Wore.

"

4--4-J i -

fl

ft
1

fl

2 1 1
J
I
cum ue--ne- rit do -mi mus e- ius

-L

(V 1

/'
w

Be - a--tus il -le seruus

Paris

I
a

ll

ft

Tf

quern

i
w

i'

ll

(V

*)

et pulsa--uerit ia--nu--am
C

1
et

P.

I "
' " 1

in-uenerit

i
M

I
i

e--um

fl

r
ui--gi-lantem.
%

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

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,

F a c u l t e de M e d e c i n e H . 1 5 9 ;

S a i n t - B e n i g n e at

Dijon,

a b o v e it are t h e n e u m e s of t h e

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).

same

A b o v e t h e s e are

the

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

( A q u i t a n i a n ) or

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
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)

(German) and Montpellier H .

i n Chartres, Bibliotheque Municipale

159
47

( 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)

/)

>

99*

/A

* -

//[

/i

ex

/ . //yi

# f f #;

Si - on

" A

Quis da - bit

#g

c
L

f7

IS

do - mi-nus

J",

35

3b

cap-ti-

ff

r
/

/>

r>

c/

c/

ni

It

35

37

su - e

1
_

4 4 ft
/.

tur

-t

1-1

Is - ra - el.

///

le - ta - bi -

e - xul - ta - bit

et

ry

31

pie - bis

_-/.

jgE

27

2b

'

cum a - uer-

/
25

J)

-ui - ta - tern

er

</

V?

cob

a-

/yr

Is - ra - e)

23

-te-rit

/ ,

E
M

,\

sa - lu - ta - re

t/>

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 P E C I A L

O T H E R

S I G N S

(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

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 ,

signs was

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

(ii)

('fold').

Quilisma

Wiesli

1966.

T h e sign-tables

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

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

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

( ' r o l l i n g ' ) , kylio

('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

very m u c h . F o r example,

i n t h e m i d d l e of t h e

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
tremula

ninth

uses t h e w o r d

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

g r a d u a l Exultabunt

sancti

V . Cantate

n o v u m ] ' h e s a y s ( C h . X I I I ) : '. . .

at t h e p a s s a g e b e g i n n i n g

domino,

flexibilis

'can[ticum

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

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 ,

repeated,

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 .
gives the

s i g n s i n M o n t p e l l i e r H . 159,

St G a l l , S t i f t s b i b l i o t h e k

Laon, Bibliotheque

IV.3.1

M u n i c i p a l e 239,

and

359.

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

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

sign.

Ex. IV.3.1.

Laon 239

F r o m gradual Exultabunt

p.137

sancti V . Cantate

Domino

neumes
suggested
transcription

St.Gall 359

p.125

neumes

Mi/

Ut/"''

suggested
transcription
Montpellier p.154

neumes
letter
notation

*2

*J

lip

(iii)

Oriscus

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 t t l e h i l l ' ) has b e e n

('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 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.

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

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

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 '

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

St.Gall

359

p.85

Montpellier

p.161
exalta-bis

from Canticum Attende caelum

Laon 239

St.Gall

p. 101

359

Paris 776

p. 104

. J *

'

f.66v
V. Expec-te-

-tur sicut

plu-ui-a

IV.5).

In

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

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
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

E-E-F

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

4.

The

Origins

of Chant

Notation

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

Laon

notation
Transcription

r
r.

r-

pressus maior
pes stratus

\
T

pes quassus

</
*

salicus

( 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

sign (*Haken' in G e r m a n ) .

For

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

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

the

many

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.

T H E O R I G I N S O F C H A N T

(i) I n t r o d u c 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

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

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 .

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

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 ?

The

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

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

been

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

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)

the

their music

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
sight, therefore,

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

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 ,

although L e v y (1987, ' O r i g i n ' ,

chant
1987,

' 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

Brittany),

Laon,

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

around 900:

Chartres,

Bibliotheque

M u n i c i p a l e 47

(from

(from

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

use d i f f e r e n t t y p e s o f
The

dating

of

neumes.

early

examples

to

the

ninth

century

usually

depends

upon

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

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 ,

1', A G 3 4 6 , o r the
r

e l e v e n i n C o r b i n 1977,

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 .

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
p r o s u l a Psalle

rnodulamina

in M u n i c h , Bayerische Staatsbibliothek elm 9543.

The

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
final

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 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

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.

1957/1958, B i s c h o f f

( 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)

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

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

1990,

' 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

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,

of L a o n 1 0 7 ) ,

(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

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

species 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

of t h e p e n , as f o r e x a m p l e t h e

F r e n c h - G e r m a n torculus or porrectus.

French-

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

( 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 ,

including

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

is a s i m i l a r d i f f i c u l t y

Admonitio

generalis

i n i n t e r p r e t i n g the

instruction in Charlemagne's

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 ,

' 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)

regum franco7*um

nota

i . 6 0 ) . T h e w o r d is

w h i c h c o n n e c t s it w i t h t h e notarius,

the secretary,

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
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 ,

cdnonicorum

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

Institutiones
a n d these d o

aevi Karolini,

i , Pars 2,

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

first

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
century,

when

Hucbald

of

S a i n t - A m a n d w r o t e h i s De

harmonica

institutione,

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
middle

of

the

century,

Aurelian

of

Reome's

treatise

Musica

disciplina

clearly

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,

48) a n d ' h a e c c o n s i s t i t

49).

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,

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
the

first

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?

i n the eleventh-century

accent-theory

of

the origins

Coussemaker

(1852,

P o t h i e r ' s Les Melodies

notation

of W e s t e r n

1 5 4 ) ; it gained

Vatican manuscript
chant

notation

wide currency

P a l . lat. 235. T h e

was p u t f o r w a r d

through

by

the explanation i n

(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

gregoriennes

(1935). N o t all m o d e r n authors

have

accepted

it, however.

T h e main

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

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

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

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

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)

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

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

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

apostrophos

L o n g a n d s h o r t w e r e t h e makra

linked words,

hyphen

a word with

a n d bracheia,

d e n o t i n g e l i s i o n . T h e diastole

a 'rough

absence thereof,
separated

respectively.
them. T h e

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

together with their L a t i n

'soft

IV.4.1,

names.

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

IV.
T a b l e I V . 4 . 1 . Prosodic

Notation

accents
Accent

Greek
tonoi
prosodeia oxeia
"
bareia
"
perispomene
(oxybareia)

chronoi
"
"

makra
bracheia

h
H

toni
accentus acutus
"
gravis
"
circumflexus
(later /v)
tempora
"
"

longus
brevis

spirit us

pneumata
"

Latin

asper (later L c )

daseia
psile

pathe
apostrophos
hyphen
diastole (hypodiastole)

lenis (later j
\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

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

spiritus.

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

later

Carolingian

Carolingian (Tsidorian')

short pause

l o n g pause

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
,

T r e i t l e r ( 1 9 8 2 , ' E a r l y ' ; 1984)

1 9 7 ) , s o m e of

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

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 ,
a n d must therefore

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

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

not

among

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

of

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
the next century. B o t h indicate a r i s i n g vocal gesture.
(c)

Ekphonetic

Notation

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 ,

The

a n d it is

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
time

the

ekphonetic

system

was

developed,

that

is, t h e y

no

longer

in

practice

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

not,

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
notation.

T a b l e I V . 4 . 2 . Byzantine

ekphonetic

signs (after Wellesz, 1961, 252)

O x e i a (diplai)

//

the voice rises to a higher p i t c h and stays there u n t i l the

Kremaste

Bareia (diplai)

Apostrophos

>

A p e s o exo

>

Kentemata

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

lower . . . higher

rise

Synemba

joining two words s m o o t h l y

>

Hypokrisis
Teleia

separation, shorter or longer

pause

u n d u l a t i n g movement

Syrmatike
Paraklitike

in a beseeching manner

Kathiste

There

normal starting tone

seems

little d o u b t

that

Byzantine ekphonetic

and Byzantine

neumatic

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
of

Byzantine

neumatic

notation

that

can be recovered,

however,

the

so-called

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

b o o k s , b u t they seem to be n o earlier than n e u m e s ,

n o r to a d h e r e to a n y u n i f i e d

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,

ekphonetic

Prosodic accents

E k p h o n e t i c signs

Palaeobyzantine neumes

Oxeia

Oxeia

Oxeia

Kremaste

Petaste

signs, and

neumes

Kentemata*

Kentemata

Bareia

Oxybareia

(Byzantine)

Bareia

Bareia

Apostrophos

>

Apostrophos

n
,

A p e s o exo

Apeso exo*

Makra

Bracheia

Kathiste
Syrma*

Syrmatike
Paraklitike

Hypokrisis

>

Paraklitike*

LC

Daseia

1-

Psile

H J D

Apostrophos

Hyphen

Katabasma*

>

Teleia

Stavros*

Synemba

Klasma*

i )

Diastole
:

signs

not recognized by all experts

were

superfluous.

There

seems little evidence,

therefore,

to

suggest

that

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 .

(For

examples

see

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

From

Sunol

1935,

181;

Jammers

1 0 2 ; R a n k i n i n F e n l o n 1982,

1965,
90-4.)

notation

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

a d o p t i o n or

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

ekphonetic signs. M o r e recently,

chant

notation

derived

from

F l o r o s ( 1 9 7 0 ) has a t t e m p t e d

the

Byzantine

to r e c o n s t r u c t

the

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).

(see

(v)

The

Cheironomic

<

Theory

>

Before the

final

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

chant

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 ;

they

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,
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

Ages

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,

the

theory

of

23;

neumatic

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

systems

was r e v i e w e d b y H u g l o

(1963,

'Chironomie'), and

most

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 .
Cheironomic

systems

as

commonly

understood

actually

specify

the

melodic

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

cantors

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

chant

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

S o f a r I h a v e s u g g e s t e d t h a t (a)

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

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

the

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 ,

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

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 .
S o that for the p e r f o r m a n c e

of t h e tract Jubilate

deo

(Ex.

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

between

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
Fickett

and

1983).

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 .

For

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

' 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 .

not

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
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

different

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
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

of c o p y i n g . F o r

their

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

(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,

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 ) .

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
parallel demonstration.

In Ex.

IV.4.1

are the o p e n i n g s of s o m e

mode

introits

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

Graduate

triplex.

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

Re

- pie

-r**
E -

tur

go

au-

-tem

- * 0

Vo - cem

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
2 4 6 ) , Ego

autem

dominum

(GT

sicut oliva

607).

(GT

424),

Vocem iocunditatis

(GT

os meum

229),

and

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

first

phrase,

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.

Benedicite
Repleatur

notation
dominum
os meum

respectively.

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

particular

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

DG

ornamental

is

flourish on

au[tem]'

i n Ego

eutem

The
text.

is i n d i c a t e d .

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,
l

and,

T h a t i s , he w i l l

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 .
neumatic

(GT

Benedicite

a n d Gc
instantly

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 ,

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

notation

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 .

(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

associated

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.)

apostrophes,

It does n o t s p e c i f y p i t c h e s : t h e

matrix

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

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

may

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
m e l o d y ( D u c h e z 1979,
Once

the

'Representation').

decision had been

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

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

no

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
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

of

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

not plainchant but

the

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 .

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

differentiation

between

individual

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

notes

or

groups

of

notes.

from Switzerland and south

Richest
Germany

in

(such

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)

such
as
121,

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 '

were

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

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 )

brevis

a n d percussionalis

longa

(a d a s h

find
or

tractulus).

(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.

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

eleventh

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
early

Winchester

abovementioned

manuscripts,
Eastern

for example.

But

and L a o n manuscripts.

they

Smits

commonest

i n the

van Waesberghe's

are

special

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:

/ = cum fragore
k = klenche

melodic:

a = altius:
e o r eq

sen frendore:

( G k . ? ) o r clange:

with r i n g i n g tone

higher in pitch

= equaliter:

/, io, o r iu = infetius,
iv = inferius

w i t h harsh attack

valde:

at t h e s a m e p i t c h
iosum,

o r iusiim:

m u c h lower

lower i n pitch

5.
/ = levate:

375

of Rhythm

a s c e n d to a h i g h e r p i t c h

c = cito o r celeriter:
/ = trahete

Notation

rise to a h i g h e r p i t c h

.9 = sursum:
rhythmic:

The

quickly

o r tenete:

drag, hold

wait

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

at t h e s a m e p i t c h

= egualiter:

at a l o w p i t c h

h = humi liter:
s = sursum
rhythmic:

= a s c e n d to a h i g h e r p i t c h
lengthen

a = augete:

c = cito o r celeriter:
n or

quickly

o r nt = naturaliter:

t = trahete

o r tenete:

I n b o t h t r a d i t i o n s , m o r md

normal

drag, hold
moderately, can qualify either a melodic or

= mediocriter:

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
f r o m the

context.

( 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,

1 3 4 - 8 , 141,

143-4,

etc.)

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
specifies

the

relationship between

two disjunct

note-groups.

The

others

usually

( 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

(or

and $ (medieval s

looks like an elongated r ) .

E x . I V . 5 . 1 . F r o m offertory Benedictus
m

in

la - bi - is

es Domine

(GT 277,

*e

me

is

notation of E i n s i e d e l n 121)

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

Pascha

nostrum,

w i t h the signs i n St

Gall

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

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 .

This

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

modified

/)

clivis

torculus

J
rv
J\

climacus

/:

pes
porrectus

/f

/r

jl J) j] JU
>: X A A

3 5 9 , 3 3 9 and Einsiedeln

from Alleluia Pascha nostrum (notation of St.Gall

_e.

_/<//

Sr*

339

- /

JL

A
C /

<JV

'

J)

J--K

+>\ rU\

/ AA

J A /- 1

E 121
n

nA

J\f:

J\

rr

JY,^

xAf

-ia.

JK

121)

Al-le - lu-

359

scandicus

339

A
1 / R /

/7 /-_ .-. / *

'-

/ J[ /_

/._

A
^

_/V Vv'*
/

's.

A /T -

v/= A A -

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.

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

the

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

N o r m a l and 'longer' signs i n L a o n notation (selection)

normal
clivis

longer

j-

porrectus

torculus

.A

climacus

r
X.
r

r
r

pes

r
.

1x

r J
r

scandicus

r
r
r

/
r

from Alleluia Pascha nostrum (notation of Laon

re*r

Rhythm

*f

Jh)

Al-le - lu-

239)

.*

As-

-ia.

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

( 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 . )

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 .

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
is fast (cito o r celeriter)}

Iustus

recorded.

o r augete)

a n d h o w fast

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

(since

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

do1 J

Laon

Christus factus
G T 148

- m i - nus

fir-

<.
St.Gall

Exiit sermo*
G T 636

*^

/V)

St.Gall //

E c c e sacerdos*
G T 486

(no variants)

Timebunt gentes
G T 265

Misit dominus*
G T 261

1j

Laon

Laon

*
'

(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)

^

Laon

longer

shorter

St. Gal

/
/
*

Laon

St.Gall

J-

'

X.

/)

>

5.
Some

The

Notation

writers have argued that

379

of Rhythm

the shorter

and longer notes stand i n a strict

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.

Pascha

as s h o w n i n E x .

nostrum

above

IV.5.6.

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
r fJr tUjO f H
tE
T
f f
f
U
j
j
J
Al-le-lu-

-ia.

f]

1 - jrt

Tr

ftr

r?f fff?> f tfr

fcHffi

immola-

-tus

T h e V a t i c a n g r a d u a l of 1908,

est

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

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

signs f r o m early sources

have

been

published,

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

most

etc.), and

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)

i J J u.

Al-lelu -J?

V f

f - r -

>

-y

ia.

passages f r o m Alleluia

\,

of

9-

PM

fl

immo-la-if^Tff
f P

ifrf

- !>

^
-tus

F"

g ffffif

JL f ff -T^~g>f f m f > ~f # f

(after

nostrum

IN r

Pascha

* V

^ *
, , ^ , T . 7> i
f t l "* r *****
'f'
tz

* J * J

-J^
est

(ii) Rhythm

in Simple

Antiphons

Interesting

approaches

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

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

(among

other

chants)

antiphons

from Gevaert's

provided transcriptions

Themes

1-11,

of

Lipphardt from

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

gregorienne,

c h . 3).

Consider Ex. IV.5.8,

which

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

Be - ne-

Dig-

-dic-ta

in

mu-li-

me lau-

na - re

da- re
/

te

uir-

-go s a -

xal-

-cra-

- t a - ta

san-cta

es

-bus

e - n -

tu

ta
/

De-i

ge-ni-

trix

-etas

he - re-

I -ses

V
~9

Gau-

-de M a -

-n - a

uir-

-go

cun-

- *

-dy - si

Pa - ra-9

Post

por-

-te

nobis a - -per-tae
/
_

per te

jsunt

partum

-go
/

-e

in-

-ui-o-

- l a - ta

per-man - s i s - t i

- * i

et
y

$
fo
*

bene/
/

-dic-

v-1

da

-hi uir-

mi -

0
/
fo

/
*-0

choros
/

an-ge-

-lo-

in-

-tere-

-mis-

/ /.

contra

-*^9

tu-

-i.

tu/

-OS.

^*

-#
-ti-a

reg-

-na.

mun-

-do.

/
#

-ti in
/

hostes

ad cae - les-

-rum

I t o
-la

-tern

/r

fructus uentris
_ /
/
/

-tu-

-##

su - per
Q

/r

-tus

u - n i - -uerso
/
/
/

*/

soo

0 quae
(fa

ho - d i -

De-

* #

-e glori-

-#

^3
-o-

-sa cum a n - g e - -lis tri

geni-

/T
-j
-trix

-um-

-phas.

\ - 0 _ i L0

in-ter - c e - d e

pro no - bis.

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

to

find

similar rhythmic

schemes elsewhere

often

appear

improbable.

F u r t h e r m o r e , different performance conventions m a y have existed for m o r e

ornate

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

Gall

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
shortened b y the letter 'c'. T h e

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

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

or

then

represent

shorter durations.

( i i i ) Cardine s
y

It

will

by

'Gregorian

n o w have

Semiology'

become

clear

how m u c h can

be

learned

f r o m the

careful

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,

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
the j o u r n a l s Etudes

a n d Be it rage zur

gregoriennes

h i s o w n w o r k i n t h e b o o k Semiologia

gregoriana,

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

Cardine summed up

Gregorianik.

1968, w h i c h s u b s e q u e n t l y

appeared

respectively).

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,

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

movementand

articulation,

their

with

special

reference

to

the

grouping

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

and

finesse

performance.

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
here,

but

some

Ponchelet's
eantatorium;

i d e a of

the

insights gained may

be

seen t h r o u g h o n e

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 ,

G a l l 359

this means

(the

example,
b o o k is a

i n effect t h a t

the

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.

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

this indicate

a change

of p e r f o r m a n c e

practice

at

St

Gall?

How

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

359

stands

the

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

Gall,

perhaps near

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

firmly

established.

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 .

Comparisons

with

other

traditions,

those

of

Laon

239

and

Chartres

47,

are

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

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

a n d o n e of t h e e a r l y

e d i t i o n of t h e Graduate

Romanum

of

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

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

note-lengths

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 .

final

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

Commentarius

on

p a r s 1, 8 6 - 7 ) , G u i d o of A r e z z o ' s Micrologus

the

latter

by

Aribo

(CSM

2.

48-50,

(ed. Smits van Waesberghe

in Micrologum

65-70)

enchiriadis
( c h . 15),
and

and

in

the

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

notes.

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

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

brevis

of the late n i n t h

century

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

to

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
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

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

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,

est
also

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

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

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),

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

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

be

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

( 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

c a n n o t be o v e r l o o k e d . B u t the agreement

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

have

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

brevis

repeatedly mentions variety

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,

our

experience

of

the

r h y t h m i c characteristics

of

music

outside

the

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
flexible

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

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

4.

731,

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

enchiriadis,

notationMusica
earlier

brevispossibly

than

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

'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

the

reason

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.

used only in

the

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 .

(See

H o l s c h n e i d e r 1968

and

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

b u t w i t h a scale

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

a n d so o n .

is m o d e r n C-D-F,

This

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 ,

but

Holschneider and others

the

have connected

the W i n c h e s t e r

letter-notation

with

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

(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

dilecto).

performance, remains
The

earliest

unclear.

evidence

that

some

chant-books

may

have

been

provided

with

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

de musica

( 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 ) ,

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

that

the

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,

105).

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
The

French.

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 .

159,

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

William

of

Saint-Benigne,

an

Italian

from Volpiano in Lombardy.

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
Cluny,

a n d i n 990

was

made

r e f o r m i n g its o b s e r v a n c e s .

abbot

of

Saint-Benigne,

with

After

the monastery

the

commission

of
of

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

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
the

chant-books

of D i j o n a n d N o r m a n d y (see

below,

IX.5),

a n d the

alphabetic

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

Corbin

1955,

of

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 ,

B r o w n e 1981). T h e alphabet r u n s f r o m a t o p ,

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

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

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

of 1032 o r 1033

( 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

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

m a n u s c r i p t V i n c e n t (1854)

(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

c l a i m e d that they represented

quarter-tones,

a claim

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

I V . 6 . 1 . Special

signs at

the semitone

step in Montpellier,

Faculte

de

Medecine

H. 159
at
at
at a (below bb)
at b
ate

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

( 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
(see P l a t e

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

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

Musique).

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,

i i . 43,

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

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

i i . 34;

D M A A.Ill;

trans.

S t r u n k 1950,

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

with

h i s i n t e n t i o n s are

Guido,

fairly clear.

Stave-lines

were scratched

onto

the

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

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 .

Some

sources

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

English

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 ,

e v e n fet| is u s e d as a c l e f .

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

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

notation

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
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,

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

1925).

a distinct rapprochement

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

IP

scandicus
climacus

Bohemian

flotation

Hungarian

clivis
porrectus

Late G e r m a n

German

ru

A
K

+++

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

Italian sources,

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

be c o n s i d e r e d .

(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

1985.)
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 .

In

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

were

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

staff.

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

comparatively

notes were

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

Beneventan

notation

a n i d e a of the

of

the

eleventh

start of the
century

piece

i n o r d e r t o get

going.

followed a similar course;

but

it

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

Roman).

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 '

signs to the stave.

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 ,

for

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,

for

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
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

Parisian

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

squares

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

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

(see

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
by

Paris

i n the

thirteenth

century.

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

Books
1977).

were
The

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
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 .
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

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
evolution
(PI.

from

16).

dainty early

H e r e as e l s e w h e r e ,

medieval signs

to

impressive

squares

and

lozenges

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

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

documented.)

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 )
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

and

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

they

'unheighted'

and

' 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

occurred,

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

p r e s u m a b l y of p e r f o r m a n c e )
manuscripts,

the

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

s t r o p h i c i are

hardly distinguished notationally outside

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

(and

earliest
Eastern

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.

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 ) ,

who

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
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

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

1957;

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

real

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
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

that

7. Theorists

'

Notations

E x . I V . 7 . 1 . H u c b a l d s letter-notation
ht

hb

P
I'n'Y
tetrachords:

MUE
hb
d
m
ht
s

C I M P C FB

hyperboleon
diezeugmenon
meson
hypaton
synemmenon

r h

U E 0 I

Greek pitch names:

aa

b
bb
a
G
F
E
D
C
B
A

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

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

enchiriadis,

modulandis,

a u t h o r of Musica

Scolica

enchiriadis,

Commemoratio

brevis

de tonis

et

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 )

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

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 ,

first
then

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)

(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

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

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

of

S c h m i d , 3 0 ; G S i . 162, is

enchiriadis,

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;

fleeting

reference

to a t w o - o c t a v e r a n g e

A-HP

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
E,

e,

a n d e'.

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

( 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 ,
a-g,

a',

b u t t o m o d e r n C-b,

c-b',

c';

it is i n fact

t h e series

known

from

the

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

IV.6).

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 ) ,

a'

finally

appears in an

apparently written in south

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

acceptance,

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

a-g,

written in north

musica,

Italy

late

E x . I V . 7 . 4 . Pitch-letters i n the Dialogus

It

Dialogus

achieved

rapid

IV.7.4).
and G u i d o of A r e z z o

de musica
M

century.

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

u p to e i n G u i d o ' s w r i t i n g s ( E x .

Dialogus,

tenth

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

l e t t e r g a m m a (r).

i n the

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,

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

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.

IV.8.

P R I N T E D

C H A N T - B O O K S

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

1960.

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

TV.

Ex. IV.7.5.

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

14965b, f o . 22 )
r

-f

e-

unison

semitone

tone

4th

minor 6th

major 3rd

perfect

5th

major

to-ni d i f - f e r e n - t i - a m tonat.

-*

se-mi-di-tonum sta-tu-it.

i . Jx^

limmata docet.

^el-tacumT

remissas

A.

si-ne punctis in-tensas

e' A

f T

*w

b i - n a cum tritono

| T

quaternos cum limmate tonos

AeltacumS

in can-ti-lenis nostris ptongorum interuallum determinat.

T

A J e 5

ftz

d i - a - t e s s e r o n symphoniam de-notat.

d i - a - p e n t e consonanti-am discri-minat.

T $ x

signat.

e r r $ y x $ l i

A s i A e ^ S T s r x a s
*

Aelta

S cum T

d u p l i - c a - t a di - tonum t i - t u l a t .

___

6th

s e - m i - t o - n i - i dis-tan-ti-am

k -i

T"

perfect

x x x % \ x x x

uoces u - n i - s o - n a s equat.

minor 3rd

x e

maximum u i d e - l i - c e t .

Si he no-te cum punctis

<j " f J x ' ^ ^ T ^ T

uocum d i f f e r e n - t i - a s discernunt pretax-a-tas.

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

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 .
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 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

d e m a n d e d : this development served reformed chant,

which

occasion

utilized proportional

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.

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
necessary

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

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
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

fifteenth-century

s q u a r e n o t a t i o n , as it

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

quilisma. T h e
melodies

first

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

gregoriennes

the e a r l i e s t S o l e s m e s

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

gradualis

of

Les
1883;

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

e x p a n d e d f o r t h e Antiphonale

monasticum

was

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

p u n c t u m (that i s ,

for

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
c l i v i s ) . T h e n e w Antiphonale

Romanum

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

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

see t h e t a b l e o n p . x i i of

of 1 9 8 3 ) .

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

Romanum

of 1 8 9 8 ,

the already partially

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

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

Romanum

of 1 9 0 8 . T h e

differences

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
i n the D e s c l e e f o n t .

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.)
Graduale

1898

i Graduale

ha

* v i *

*f

1911

>Pas - cha
Rouen 250

nos-trum

im - mo- - l a - t u s

IV.9.
(i)
(ii)

M O D E R N

est

Christus,

a l - l e - l u - ia

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

any

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

(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
c o p y of its n o t a t i o n a l
Even

the

performance

later

signs.

forms

practice

i n d i c a t i o n s of t e m p o

of c h a n t

that

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

normally

and dynamic. They

expect

from

information

musical

score,

about

such

as

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

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 .

techniquesfirst

used

In

that we k n o w very little a b o u t the

fact it is o n l y s i n c e

for plainchant

(Discant Recordings D I S

at the

1904

the

advent

Gregorian

of

performing

sound-recording

Congress

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

in

Rome

performance

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 .
This

is n o t the case, of c o u r s e ,

w i t h t h e n e w t y p e s of c h a n t

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

figure,

w h i c h arose i n

for e x a m p l e , we have

a c c o u n t s of o u t s i d e r s

(see

the
both

below, X . 6 ) .

But

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 .
The

m e t h o d of c h a n t p e r f o r m a n c e

is c l e a r l y of g r e a t i m p o r t a n c e

i n the

church

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,

Music

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 .

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
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

(i)

B r u n n e r 1982.)

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

to

practice and transcription.

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

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

the
be

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

s h o w s that one s h o u l d

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
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 .

S i n c e P a r i s 904

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
for, say,

tenth-century

St

Gall.

F o r further

information we s h o u l d consult

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

has a

R o u e n t h a n w e are
any

thirteenth-century

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

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,

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

Any modern chant

t r a n s c r i p t i o n s h o u l d represent

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

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
memory

was for centuries

the rule

rather

than

the exception.

B u t where

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
made?
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,

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.

equally possible
The

with

Solesmes/Vatican

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,

it

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
modifications,

of a n o t a t i o n

from

the h i g h

Middle

Ages.

Its resuscitation

is

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

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

romain

have had

a n d Antiphonale

cite no

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

over the

is an
typeset

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

BOOKS

I N T R O D U C T I O N
The

illustrations

liturgical

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

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

and different

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

types

of n o t a t i o n .

In

eighteen

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

1.

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

Plate

2.

Oxford, Bodleian Library, L a t . liturg. d . 3

Plate

3.

L o n d o n , British L i b r a r y , E g e r t o n 857

Plate

4.

L o n d o n , British Library, Harley

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

Plate

6.

L o n d o n , B r i t i s h L i b r a r y , A d d . 19768

Plate

7.

O x f o r d , Bodleian L i b r a r y , Canonici l i t u r g . 350

Plate

8.

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

Plate

9.

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

110

P l a t e 10.

Cambridge,

U n i v e r s i t y L i b r a r y , L . 2 . 10

Plate 11.

L o n d o n , B r i t i s h L i b r a r y , A d d . 10335

P l a t e 12.

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

P l a t e 13.

L o n d o n , British L i b r a r y , A d d . 29988

P l a t e 14.

L o n d o n , B r i t i s h L i b r a r y , A d d . 17302

P l a t e 15.

O x f o r d , University College

P l a t e 16.

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

148

P l a t e 17.

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

P l a t e 18.

L o n d o n , British L i b r a r y , printed book I B . 8668

S^fuj-.tutc > i n f . V D n c r c Ant SiAK.i^tujp.cn.iuv

^V^'

lUutn-V^citnirr illi xefk"iermT

(

c
5 K} *
"i i L f "
' 1'
b e i m m j?re tiuem ctrrl>be-ri> rutn cjmjt ^ - r a T i * i cimi
y J r
^y* . _ 1/
:
y .
^
i
.

< :
:
rrmrit^Tf u i *zpnf -rrmlnplt *
c m m m o - p ^ o p i m tutticu dtnef
v u u t prapbaruie- fpi r r r i i pot tcnf-pLurimo
Ac
i r/
.
4t y
y
;/
^
'
titn i p f i
o " ' ' ' b i x x i t n v*c p r *
*
-<

nt
tie
fit

fctcitr er p|^itrri*Ji.tifTr.V'/vci-tTiipiriaaf c u n c r t f ope-pbwf e c u c v b i f c l i

rnft forxif

ktc ^T-hlecfct

et~uf ArueworrP-i- t t t u n a i rem p fire b4*c m

fim.t c|iic> c-ieti c*vpeT*V tumrmi..A v^{ut cteimpe pruropftr . t c j i t u m pofr

- /

r y _4 .
. /
y ^
.
. f

ctrrl>bCTirrD.AlTiep?fcop-tT^i fltc i^trn ex^icrn b t e n n t c u x ( o u u.tciitt

d
e
t
i

ciilecTt>

t^ciatr^

fe

A
n
r
r
o
A
r
"
>
i
n
c ctn^nuir

J l r x i t r p t c n corp^T^/

m arl' o f o c a i U f ct e n f u e r u }c r^fa t u t cat a fp n e w o u t te

-> -f' :
f

. -

-)

. y ">

- . .
/

' "^
y

-3 ~j

y
y

- I

t Kl\\o

. . . s i :
s

J)

" " *
y

)
7

cut i J dct"'** c u i xpf^-utr uttier^cuf m o n lucrum ptrr enrte- a u m p o f t rnpi^

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 .
r

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

a n d St G u t h l a c (fos. 6 5 - 6 6 ) .
r

P a l M u s 2, p i . 8 1 ; f o . 6 3
It

therefore

contained

( 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

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

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

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

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
V . Admirandus

Cuthberhtum

A f t e r the r u b r i c

cunctis

IN MATUTINIS

t o b e s u n g at L a u d s : Cristi
episcopatu

suo,

EVANGELIA

in

fortis

tanguntur

hie

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

athleta,

artis sacri,

last a n t i p h o n , O magne

V e s p e r s or for subsequent
The

operibus.

LAUDIBUS

Qui

de

a n d Mox pater

rupe

prompsit

aquam,

t e x t s of t h e

presul

Cuthberhte,

In

T h e rubric IN

suos affatur.

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

The

dies.

Hinc

presulem

ad

crescens

is f o r t h e M a g n i f i c a t at

commemorations.

chants

are

r h y m e d (end-stressed),

as f o r e x a m p l e

the

first

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 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 :

(b)

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:

(c)

liquescent neumes:

f 9

(d)

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 ' :

(e)

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 .

9
qui

_
be-a

gra-ti-a

di-ui-ni

- turn pre-

' ~
mu-neris

_ _
-sulem

__ ;
Cuth-berh-

~ ~~
ui-gens mul-ti - p l i -

-turn

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.
r

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

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
or the Liber

usualis

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

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
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

gloriari

the mass for T u e s d a y

and the start of the first lesson,

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 .

in-du-an-tur

pu-do-re

et r e - u e - ren-ti - a

qui m a - l i - g n a locun-tur

% -civ- U*vtf >

/i4 ? l '
k

cr n b i red Airnt r u

4 *

tntm

<?r iitftcr tit m i l t k u f

*tyn<?t*um fmi^m

um lie fi ir <un

ftrur
it*

-<isnftrttitit>ur

June dsmi ne

v D

1.vim

a
1

* * '

* * f

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

of mass f o r the seventh

\ o f f e r t o r y Sicut

hymnus

P s . Magnus

deus

after P e n t e c o s t ) :

deus

gradual

Venite

meus\ o f f e r t o r y Popidum
et

aurem

V.

fili
Te

decet

tuam.

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

Suscepimus

( 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

( 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

in te speravi

Gustate

c o m m u n i o n Inclina

in holocaustuni]

'Dominica VIII'eighth
Deus

Sunday

( 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

Accedite

michi

Attendite

V.

popule

(incipit o n l y ; reference to mass 7 0 ) ; c o m m u n i o n

humilem

videte.

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

deus adiuvat
elevata

me P s . Deus in nomine

est] Alleluia

Domine

tuo: g r a d u a l Domine

Deus

salutis

dominus

noster

mee.

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 ) ;
1890,

Briggs

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 ) .

The

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

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

centuries.

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

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

rare

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

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

et videte.

be seen i n f o l l o w i n g

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

usualis

o r Graduale

Romanum

at ' G u s T A t e ' a n d ' Q U O n i a m ' . )

Gus-ta-

/ r

rrr

-te et u i - d e - t e

-wbe-a

quo-ni

^
- tus

uir qui

spe-rat in

am

su-a-

e-

>|- Jl

-uis est

-o.

JI

do-mi-nus

inc

omnia, o f

fojnca/

COuomvnn]

K /.

mkxxmm

''7
cm

ipfc a t

t uj aasm

tf: P< "P

"

ob urul

//*.

r ' V

m a m

jn\
p

ira domine quomam

m*i0$m

flfi*f

d o

^ u m o r x m

teM*?' fit*t

.if jr.

error rnc-

. ;

caulammcam

iitiquo 6^aoLof

, j

rxpc

/,/ / / " r

AO D t f c c m c
) o m m c

nondcrcunaui]

oma&nan

paxiptmm

//,. //"V /
" pdrtimnum aunuatc^cauia
/

/L P

i qpTCCfefpcmv

At

'

/ "
>

ton

J.
1

lmptuf ludicarc

i-P 1 ltl' "

J

p o p u

;; ., " -

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 ,
r

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,

i n t h i s case o n t h e

a n d ' R G ' (Responsorium

(Commanio)

left-hand side. T h e
show

gradale)

s u r v i v i n g labels ' C O '

that the fragment

is f r o m a

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

are:

( M o n d a y of P a s s i o n W e e k ) : e n d of o f f e r t o r y Domine
ira

V . 2 . Miserere

tua

V . 1. Domine

convertere

c o m m u n i o n Dominus

mihi domine;

virtutum

ne

P s . Domini

in
est

terra.
[FERIA]

III

STATIO

AD SANCTUM

P s . Dominus

viriliter

age

lucent

taum\

o f f e r t o r y Sperent

Cognoscetur

CAPITULUM:

CYRIACUM.

G r a d u a l Discerne

illuminatio\
in

te

omnes

V.

1.

i n t r o i t Expecta
causam

Sedes

me am

super

dominum
V.

Emitte
V.

thronum

2.

dominus.

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

was

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,

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

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,

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

Do

minus

Jit

(see

uir-tu-

1^/1

LU).

j |

f.\

JP

rex

Cathedral

Chapter

u*.

uXLK_.

Cp

/'/

- J >

i -

. .

t u i t t - 'Xfrf* .&u.vho&''

i -t

ft

fft

. f;

: -

.toft**' O i l n a f c l a a i , ^

k&elc diucc^eiirf-^auiitalaptb^n difeJeLu^fu-pei*'dim.wi^

,
;

I:
'^A ^

i"
,

'*>

' "

'

' \

/
j

'

;}

eiuf

faa-ituu&i a f s c u f

**' - *

.^|*uiMkjsBrduafttaiiyii*--fcaftciiu^yivtrunif * a - a i r

. ?

t r i x m ^ u n u . f a i b a an turn u f i i m u a r cL^monu

tt

J . r f

.- -...:.v
;

>

alleluia-

^ '

>' '

'

, J

ficua fuicut uefcnitiiiiccit e{uf ftcu&mjt ujL Uu. a

k

^ufttv^umwf ! ; ^ . i U > - ! ^ cn^mcoU/K

"

'

> 1 .J^ . ^.*tih4>*cti4Ayun

%

l| n

L o n d o n , B r i t i s h L i b r a r y , A d d . 30850, f o l . 106 . A n t i p h o n e r , f r o m Santo D o m i n g o de

S i l o s , 11th c. S p a n i s h neumes (northern type). T h e plate shows office chants for Easter
D a y , w i t h the Quern queritis dialogue added at the foot.
v

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

2, m a n u s c r i p t S ) ,

Silense).

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

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

transisset

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

d i a l o g u e . T h e rest o f t h e

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

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

Et

ual-de

or-

-to

m a - n e u - na sab-ba-torum

iam

so-

-le

ue-niunt

notation.

ad

mo-nu-men - turn

al-le-lv

A p r o v i s i o n a l t r a n s c r i p t i o n o f the E a s t e r d i a l o g u e m i g h t b e a t t e m p t e d w i t h t h e a i d
of c o n t e m p o r a r y A q u i t a n i a n m a n u s c r i p t s ( P a u l E v a n s 1970, Early,
246);

155, M M M A

3.

b u t s o m e t e x t v a r i a n t s ( s u c h as ' l o q u u t u s est' i n s t e a d of ' p r a e d i x e r a t ' ) are r a r e ,

a n d a f t e r 'o c e l i c o l e ' the m e l o d y f o l l o w s an i n d i v i d u a l l i n e .

I fkt-m crut'if fccium ce^e^ni^mlt^

v l

fUii-tut

a t c r

W of t^rutr
^ / * ^"

-cilltaf
fee

c v t u f

f n w c u t a

- p e c c a r y

uof tnf

ciixitxiA,-ferntrer
p r r r ^ o x a ^

-ctbit?Uc<x*

'

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 o l . 16 . T r o p e s a n d sequences, f r o m the

monastery of St A l b a n at M a i n z , m i d 10th c. G e r m a n neumes. T h e plate shows
sequences.
v

T h e p a g e s h o w s t h e e n d o f t h e s e q u e n c e f o r S t A n d r e w , Deus

in tua virtute,

start of t h e s e q u e n c e

APOSTOLORUM),

sanctorum

senatus

for Apostles (IN

apostolorum,

NATALE

PLURIMORUM

a n d the
Clare

w h o s e text is a t t r i b u t e d t o N o t k e r o f S t G a l l . I n

a d d i t i o n to the n e u m e s entered over each syllable of text, the m e l o d y for each phrase
is w r i t t e n i n t h e m a r g i n . T h e n o t a t i o n i n t h e m a r g i n i n c l u d e s o c c a s i o n a l s i g n i f i c a t i v e
l e t t e r s , f o r e x a m p l e i n l i n e 9 . T h e n e x t l i n e of m e l o d y , t h e first f o r Clare

sanctorum,

is

u n d e r l a i d w i t h the v o w e l s of the w o r d ' A l l e l u i a ' .

T h e e a r l i e s t G e r m a n c o p i e s of s e q u e n c e s i n s t a f f - n o t a t i o n a r e n e a r l y a l l o f t h e 13th
c e n t u r y o r l a t e r , a n d o n e is t h e r e f o r e t e m p t e d to l o o k t o e a r l i e r s o u r c e s f o r a g u i d e t o
transcription.

I n the example

( l e f t - h a n d side) t h e start

of the m e l o d y f o r

is t r a n s c r i b e d w i t h p i t c h e s d e r i v e d f r o m R o m e , B i b l i o t e c a

sanctorum

Clare

Casanatense

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

r

are:

e ( ' e q u a l i t e r ' ) : l i n e s 13 a n d 14 m u s t start w i t h G

/ ('trahere'): m o r e deliberate delivery
c ('cito'): quicker delivery
i ( ' i o s u m ' ) : i n t e r v a l g r e a t e r t h a n a s e c o n d at d e s c e n t
s ( ' s u r s u m ' ) : i n t e r v a l g r e a t e r t h a n a s e c o n d at a s c e n t

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

/)

line

<S

4j

10

(Plate 18)

f g

A(l)-(l)e-(l)u

P
i-

C l a - r e sanctorum se-na-tus a - posto-lo-rum

Si *
11
-a

princeps orbis

ter-ra-rum

12

&h

Br

rector-que regnorum

/=

jy^
sTi

^
/~?

E c - c l e - s i - a - r u m mores et uitam m o d e - r a - r e
Que per doctrinam tuam f i - d e - l e s sunt u-bi-que
m-z
A n t h i - o - c u s et Remus concedunt t i - b i

rcppulir aoru/fctrc temf

UnfhtmtAsJhi

0 j u 1 h d n t

corn*

murimb'Amft^

fajmlilvLUL

vnfuamono nofrtibut* auuf fol\mi<i xxltbjxnmff

ftmfcflr
^z'

t|W jrner

^ r

cjuem

w t t f U P a m UntUmref

m j ^ m f p r c c o n u f Aupmm

r4in.

y r

' ~

r y ' ^

/*

c#t nobif

JLxmf
y

"

* "

'

zt /* y*

deo

f s

ff

m%*xidT
^

y***y*^j>

inxxri^y^xiiorntriibuf

~ 4y* '

s / ~

'

, y /

' /

fuy>

" S *

f S* /f J* * y /f r* _

J/t/f- r'J
s

frvfiyuf4Telthif

cixmf xmyenum.

weoccelftf

/* ^ ^ -/-z /

c/fe -jiofjiwwil V RVc m r m e # extern

^fxhaf

ry Lorn*

at>ctfcr*t*fcbrmr
~

^ r ^ / st f r

bone

/ _

humerus

uohxrtv^ctf
^

^ ^

yuJ***y

>

/ /-^rv^ ^ ^ . ^ /
- ' - ' s s y /*&K,
im^ere i*totii(! |urcoUtr^eccaxa rmrndbt fofnipe^ A^raijuci^''7,

* y^y*J*

* -

*;;
!

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, fo. 4 . N o t a t e d missal, A q u i l e i a ? , early

12th c. G e r m a n neumes. T h e plate shows proper chants f r o m the t h i r d M a s s of
C h r i s t m a s D a y , w i t h introit trope, K y r i e , and G l o r i a .
r

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

nos

Saciasti

domine
domine

quesumus
familiam

then

sacramenti,
These

tuam.

( l i n e 2)

prayers

another

conclude

the

postcommunion,
second

Mass

on

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

t h e K y r i e ( M e l n i c k i 1955,

domino

cantandus

canticum

est

?iobis,

novum.

Then

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 .

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
date,

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

i n place beside

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 ,

the

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

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

been

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

Ky -

sources.

ri-e-

-/

*** i&
Kyr-

- l e y - s o n . (3

.
9

-ri-e

A
#3
-ley-

times)

Christe-le-

-son.
Kyr(2 times)

-yson. (3

. - S f*. J* A ,

^
2*

times)

-ri-e-

** fr* **4

/i r

*j fib mj
-ley-

-son.

rtawdi

Uctts

~po mino

iv

itmvt

nobis-

errt>tt*

quoniam o<wus t|o

nwm mftntlum ttuftwcw

V 4 w f w i o l u c r noks al>W * o Uptbem qucm trgett fanthtm c*t

1?
Vtf^idcjgiw Otigr^I^oti eifc Vic quern qumns to C O T euniif ttim

JB*iwi8^^

gm

qw*a lutrevrr iKe Cbc^2

4tir lapt&em poftxxon^t <p*att non fetnabatxr

*

ft

JP

*< *

* J*

mm
t

lufhae avrr ftputauii txb&airr aur tttUt^nxtm abctfcm: no

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 .
r

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

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

incipit; Melnicki

1 9 5 5 , n o . 3 9 ) , AIL Confitemini

Laudate

omnes gentes

domium

domino

quoniam

a n d tract

bonus

(incipit only).

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),

as i n

the p e n u l t i m a t e note of the e x a m p l e .

,

y)

A(ll)e-

Jl

^ fl *J

-0)u-

-ia.

Ait*

+ +

f \

V . Confi - temi - ni

do-

ft

*;i

-mi-no

J1N

1 '

f*

- 1 3"'-

!- '
w
W*amua it-

i i i

111

J " *

1 1 ( 1

1 ft

; l

J U
J"; 11
iff"*
omtrv- deuf t'rfift tfraW
1

- 11

r i - i

J n

'

- 1

J4"
a*if -~ mtfe- tWc vu>
11,* ,v-i j J / l i
1-.
A^UO*****

_ -

t t

- '
1

^ r - r^

'

' v

<u*miciTWf*^
. f
J
f 11

^5

-1*11

1 1

imwv: <3<atf ^bcmw

-!

tt-.i-t^v.-Aoii
1

rgttanS

\ tj

:i

fi , -

4eu^me*c_
;

dL.

odomtne jotrttnAi

3*

"

I ****'

L o n d o n , B r i t i s h L i b r a r y , Royal 8. C . x . i i , fo. 6 \ O r d i n a r y - o f - m a s s chants a n d

sequences, f r o m N o r m a n d y , 11th-12th c. F r e n c h neumes. T h e plate shows a G l o r i a
w i t h trope verses.

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

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

tua Deus.

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

celo redimeres,

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

Conditorgeneris,

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

deipatris.

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 :
l

[ 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.

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 . )
1

*# ^
Con-di-tor

SaT- p i - e n - t i . - a
In - e f - f a - b i - l i s
J
1 . .
i

'

A . n

'

ft

#f*# ^
.

redemptor

C/l .

JJ

C $

Per."*'
e.
*
<T

v.

(1

fli.,

1.

~* '*0

e.

t 1

x y

tt

<i

*
j

Nasci d i g - n a - t u s de u i r - g i - n e

*i

f*

nos.

i-dem-que

D e - i patris a e - t e r - n i fi - li - i
si-ne fi-ne s i - n e p r i n - c i - p i - o
n .

1 \ ,

hu-mani

Sal-ua-re ue-nis-ti

ge-neris

II

i*

Et nunc De-us et homo regnans

J
^ =

f*

e.

*i

&

O do-mi-ne

#
do-minator

*'*

**

Per-ma-nebit

P
in

e-ternum.

ifntrttiobtf^nctiprdttctlraxpc. X pc aridities.

m < wuititftcmtcltic elstirmfdfmtf.eebocm

(^ !j| trtnpto Mutuant cdtftcaaotitfpfarnafyu,
| f | | <m Omtgimf appdmirrqttt otnfatiifi _
ens dtopnontfopattf tpfc fctnp tunrd fiettdira
xt Cdttdertf.p. Onudc fcnbifpoirafrt* liip patmii
is oticiiBili niip tu d c r a i i m atigiiUiocadnimic.
dtc;i it 1- am i m m ^ ^ ^ - ^ ^ ^ ^ r - jutidanicrratm airad nemo potrit po
flftk ^oa'ttttid dcmqttc quod pofiann dt ctrpo dotmtio. fim(
tfd. boa. $miM. <kfct. >. fuiiid. roa. era nxa. tow. cdf>p.lap<fa. im

Jl Bjl i 6 S t H 1 H A >-c
tit.

pit.

o.

pt.

ro.

fi.

nm.

gut*

fi.

Jft.

cofo. longxf. c f # .

cf)ttc.

<\? r Adcmx) aiupilo tmettraltfnibdr ftmtltfttM$

orncinim*(ltcir
a 6 mftiiilhfi
c d t f 5
h I k I m nbam
o pdimpf)'.
qrf v

_ J > . A i d atrtptdradcogmtn DaitdtftrotitfsCnnfafiAra aVpo tfi'u.

iitif

ujc j)
a , poihtamtrmincrfmm ctrtic <\"
.dicaromnoiiauhdiic.
^tuMuoi.
$ qui fciti moyfm pttamftrfnnttb^ ifra
7

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.
r

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

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

domine

follows. O n line 9 another rubric begins,

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)

f r o m the

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
a n t i p h o n Fundamentum

aliud.

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

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 ,

b u t a g u i d e to

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
eastern

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

aula

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

The

IV.6.1),

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
one i n the

first

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 .

Funda-mentum a - li - ud

ne-mo potest po - ne - re

^>jstlthzbme,in-i

nijmuftth

imp**?

* (*4n* Jar JLuerf>

twakhu

\%0t ^d#l<

tft

*f

n**fktrt:q*A

p w t f

<mra*>Ut#

TA B f D E 6 3 h c 4 e f $

\A I I 0 U A & t ff uAZIO.
u 4.*

& .u A e

tt

t an A*%

ma

& j

if 61173 if
e
i U
f

a a

A &
6

<?

rtfren&nf

$ UA I
p

i tn^ium
e

4,

tmnferev
A

6 4

nelmfmvr
A

c h A f

mfona?
e 0

London,

British L i b r a r y , A d d .

10335, fo. 9 .
r

T h e o r e t i c a l writings and tonary, n o r t h

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

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 ,
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

refrenens,

follows, in which G u i d o

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

s y s t e m at t h e e n d

('In

sola u l t i m a parte

hoc

argumentum

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'

'Improvisation'.)

method

of

composition,

see

Smits

van

Waesberghe

1951,

<rb*p cum <mf(|r

cnttt

1->

I *

*7

"

*.

t
Fj

~
F

I /
*

'

r -

" ^ i

'

' * *'

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 35IL 1 (olirn Benevento, B i b l i o t e c a C a p i t o l a r e , V I . 29),

fo. 174 . Sacramentary w i t h priest's chants notated, f r o m Benevento, 12th c.
Beneventan notation on d r y - p o i n t lintes. T h e plate shows prefaces.
v

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

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

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

Virga plus descending liquescence;

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

the f i n a l s h o r t t u r n d o w n w a r d

second note.

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

D o u b l e p u n c t u m (?) p l u s

l i q u e s c e n c e ; the e n d o f t h e t a i l

liquescence.

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 .

.
Per

om-ni-a

r*

Et

<

se - cu - la

se - c u - l o - r u m .
ma

ml

cum s p i - r i - t u tu - 0.

Sur-

A-men.

-;sum

cor -da.

Domi - nus uo - bis-cum.

<

1 . 1 .

ACut^tjttt tomtituf "alWma. 3 f l P v ^ ^ 4 ^ t f k r

OJLJ>,

CdUempnu coUmus. J n n ouanone- tnj fpc Amcrrr

4-^4 I^_J _-4

w.

VT

^fcnri*GiWttfmi&

m r c tnartormrtus a l le-ixi

ccm^itgabo

er caEi^xsnxe^nx

" W a r * . ;

. . / V J

cr effort turn

' W C i

tPvottae

^^wtc-lbown ubi-ptrtttuPm r t m m t 4 Attelma

IA

L o n d o n , B r i t i s h L i b r a r y , A d d . 29988, fo. 7 4 . A n t i p h o n e r , R o m e , possibly St Peter's,

m i d 12th c. C e n t r a l Italian notation on d r y - p o i n t lines w i t h red F - l i n e . T h e plate shows
part of papal V e s p e r s o n Easter E v e .
v

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,

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

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 .
The

side s h o w n here

c o r r e s p o n d s to p p .

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 1 4 * - 1 1 6 * of S t a b l e i n ' s

i . 488),

table

(for

the

n e a r t h e e n d of t h e first s t a t i o n .

The

are:

l i n e of m u s i c
1:

M a g n i f i c a t a n t i p h o n Cito

(Second

euntes

Station)

3:

p r o c e s s i o n a l a n t i p h o n In die

5:

a n t i p h o n Alleluia

6:

Alleluia

10:

resurrectionis

mee

alleluia

V . 1. O kyrios

V . 2 . Ke gar

M a g n i f i c a t a n t i p h o n Venite

et videte

estereosen
locum

T h e t r a n s c r i p t i o n is of t h e p r o c e s s i o n a l a n t i p h o n In

die

resurrectionis

(cf.

mee

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

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
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 .

~9~
In

-*w>
*'*
di -

+-m
-*V *TB
*'
0* *'
* *m
e
re-sur-rec - ti-o-

******* **** **,

-nis

me - e

2
-le-

-lu-

****Q

di-cit do - minus

al-

4 "VM.

-ia

*\'** *fr
w

con-gre

- ^ga - bo

* i ' U

et

ef-

gen-

-tes

*w*~m*b

-fun - dam su - per

et

r*m
uos

***

col-li-gam

*#
T

*7*7iZ Z*V

a - quam mun-

-dam

J r .

*'
F

1'"

* .

"

arum

- .

v<

" * ' * .

A& Cihtxnfof

* "

hof AoTmvc <kiif

nrS^.iih
2

K l r t i

?
nf

^ntfuw

k ieft6emmf

eartiw

'
r
<p* ^ c i f l i n f t p u m m ?

ATI^U

Uytfy

*
- "
^ m f Ci&ia

fei?mmrra

e-"-

uenft j x ? t r # muocAve

earn

Jum|jpr

"7

e&*tfti

ueriiec

titan

dwmnf

fiy rrncnhverbA

f l c u r f i i r mth&r
1

"

rm$\:

<\m&f$ieC^

tm-uenier

" .

ciuofcihmr

'

'

jKildv

L o n d o n , B r i t i s h L i b r a r y , A d d . 17302, fo. 8 . D i u r n a l , monastic, C a r t h u s i a n , 12th c.

r

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.

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.

It i s i n fact

more

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
square

note-heads.

Another

variety

of

square

notation

found

in

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
pi.

11),

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 ) ,

of

1890,

and T o l e d o ,

A r c h i v o C a p i t u l a r 33. 24 ( P a l M u s 3, p i . 2 0 6 ) . E n g l i s h notators, o n the other h a n d ,

t e n d e d t o f a v o u r t h e use of l o z e n g e s (see P l a t e 15). C o m p a r e t h e f o l l o w i n g t y p e s :

virga

Paris

London
17302

punctum

\
ft

climacus
porrectus

England

pes
clivis

other
Carthusian

D , F , a, a n d c c l e f s m a y be seen o n t h i s p a g e , b u t n o n e of t h e d r y - p o i n t l i n e s h a s
been i n k e d i n .
T h e chants s h o w n here

are:

(end of the O - a n t i p h o n s )
A . O oriens
A. O

splendor

(end only)

Emmanuhel

A . O rex

gentium

' I n l a u d i b u s ' ( L a u d s o f M o n d a y i n E m b e r W e e k of A d v e n t )
A . Querite
A . Cum
A . Dies

dominum

venerit

hominis

domini

A . Haurietis
A . Gaude

filius
aquas

. . . (first w o r d o n l y )

T h e t e x t s of t h e O - a n t i p h o n s are of c o u r s e n o n - s c r i p t u r a l , b u t t h e s o u r c e s o f t h e
o t h e r a n t i p h o n s are i n d i c a t e d i n t h e m a r g i n : I s a i a h , S t L u k e ,

etc.

>//> i/,
/ jW < 1. . L f

W i f m i i ^ o TvwriniiCoimtmnitoo (uxntcrauAtibt m m m c Afftfrrttfifertfoti

(rtnr
^ ^ dfori
f wton
* j *^Ov n
e

*M*s3Fl^

tepfcn

lfttfcffl*
Mild UUttfiKVtt^mtifnt
_ ^ ) tfodf a*flC
.
__
^ ^

'ty* * >eu^ j ^ i m p t o ^

unfit ^t^irtt^l^

muacf^uaitvn<t<t&datitii^c>}eiKbn' r u n t

iriKbu. i l M w i M l i - A

t-twtotbmituif

'JL- - - T t i . - 5 .

s*totw i tc utfactumc ^ o ^ j j * " j ! *^ f

8 n

O x f o r d , U n i v e r s i t y College 148 (kept in Bodleian L i b r a r y ) , fo. 10 . O r d i n a r y - o f - m a s s

chants a n d sequences, f r o m Chichester, 13th c. E n g l i s h square n o t a t i o n . T h i s plate
shows the start of the K y r i e s .
r

A s a l r e a d y m e n t i o n e d (see P l a t e 14), s o m e E n g l i s h n o t a t o r s o f t h e 1 3 t h c e n t u r y
f a v o u r e d t h e d i a m o n d o r l o z e n g e s h a p e as a b a s i c n o t a t i o n a l e l e m e n t . E v e n t h e h e a d of
t h e v i r g a t e n d s to s l a n t . T h e l i q u e s c e n t f o r m s c a n b e s e e n m o s t e a s i l y at ' e L E Y s o n ' :

*1

in

*J

T h e o r i s c u s as a r e p e t i t i o n o f t h e p r e v i o u s note (as i n t h e p e s s t r a t u s ; c f . P l a t e 9) c a n
s t i l l be d e t e c t e d :

T h e t r a n s c r i p t i o n g i v e s t h e fifth v e r s e of t h e first K y r i e o n t h e p a g e ( l i n e 5 ) :

' -' '

' '
Qui canunt an-te te

preci-bus a n - n u - e

^TH f*^ * / *

Christe-

'
et tu no-bis semper e - l e y - s o n .

-ley-son.

T h i s i s t h e first page of a c o l l e c t i o n of K y r i e s , w i t h a n d w i t h o u t L a t i n v e r s e s ( l i s t e d
H i l e y 1 9 8 6 , ' O r d i n a r y ' , 3 9 ) . T h e r u b r i c s are s t i l l f a i n t l y d i s c e r n i b l e at t h e e n d o f l i n e s
1 and 10:
first

Kyrie,

Te pate?- supplices:

' D o m i n i c a prima adventus d o m i n i cantus

sine

carmine'
s e c o n d K y r i e , Clemens
Te pater

supplices

rector". ' D o m i n i c a s e c u n d a c a n t u s s i n e c a r m i n e '

w a s f r e q u e n t l y s u n g o n C h r i s t m a s D a y , w h i c h is n o d o u b t w h y it

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 .

- 4 f -

tits t

iiwim

mcrac

WG-5
-jt\

its

'sfet--

fie

itnr

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, f o . 130 . C h a n t s of the M i l a n e s e rite,

r

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 .

Hi sunt secuti

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

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

d u r i n g the successive repeats

secundae,

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

secuti

( s e c o n d p a r t ) Ad hoc pertingere

meruerunt

ut Christi

martyres

fierent
Schola

Respond

hi sunt qui secuti

Solo

Verse

Ecce

Schola

Respond

quam

(as s u n g b y s o l o i s t )

honum

( s e c o n d p a r t ) Ad hoc
w i t h melodiae

pertingere
at ' m a r t y r e s

primae

Solo

Respond

Hi sunt qui secuti

Schola

Respond

( s e c o n d p a r t ) Ad hoc
w i t h melodiae

(first p a r t )
pertingere
at ' m a r t y r e s '

secundae

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

melodiae.

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

pueri

and the boys themselves,

hence

t h e n i c k n a m e o f s u c h r e s p o n s o r i e s . S o m e t i m e s a b o y m i g h t h a v e b e e n e n t r u s t e d also
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

A*
m

99

repeat

S99
9
m

themselves.

is

primae

it t r a n s p i r e s

m 99

**~

i}*

*9 \
0
m

M a r - t y - res

iTTN^SM* 'U\

^T#-J^V

9^

1/

)s ^
1

9'

(-res)

~9

0 9*
9

-rent.

^
-9*

##

<

Jt

ttft* * 11
4

-f

Di fiila|)f ftpmnonf uriiui

'

'

utff ftSflDTrrtrmjwfe

utbUt^ aloflim* ilirfit tpifG(u CCD tyuuu w gtona

tip fon/*.

loaawmrttftr

o6(rmrma{iflritomiliitf lionrtiolitmttf. .aitautrtr

IJflir mam* tr to tmmit ttOiojiftmm^tf i Mfe a

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, f o . 138 .
r

G r a d u a l , f r o m H o l l a n d , 15th c. G o t h i c

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.

The

present

manuscript

concludes

ordinary-of-mass

with

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

between

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

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

service-books.

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.

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 :

Ky-

-ri-e-

-ley

son.

horseshoe-nail

L o n d o n , B r i t i s h L i b r a r y , p r i n t e d book I B . 8668, fos. 1 1 3 - 1 1 4 . P r i n t e d g r a d u a l of

M a i n z , 1500. G o t h i c notation. T h e plate shows sequences.
v

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

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

Christi,

o c c u p i e s the first s i x

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
Clare

sanctorum

senatus

apostolorum,

5 4 0 y e a r s e a r l i e r o n P l a t e 6.

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

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

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.

1969;

Gushee

1973;

Palisca,

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

two most

which

touch

directly u p o n chant

i m p o r t a n t of these a r e :

composition

(i) t h e w a y i n w h i c h t h e

and
chant

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

borders

on

the

of p a r t i c u l a r c h a n t s .

speculative

part

of

music

Some
theory

of the

material

(music

as

the

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

medieval

transmitted

by

writers

Boethius),

wrestled

with

the

heritage

of

antiquity

d r e w f r o m it w h a t w a s of p r a c t i c a l use

(mainly
i n the

as

daily

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

b r i n g i n g i n t o l i n e of t h e c h a n t
concepts,

repertory with

w h a t h a d at

first

been

theoretical

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

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
such

and such

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

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

O F

A N T I Q U I T Y

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

r . 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).

O f these the

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 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

(c.480-

substantial
mostly

natali,

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

1980,

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
above

writers a n d was repeated

by many medieval authors.

A l s o repeated

i n the

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

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
A u g u s t i n e ' s De

musica

( 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).

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,

fifth,

notesthe

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

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 ,
Music's

power over living b e i n g s n o t

only humans

'Musica').

b u t also a n i m a l s a n d e v e n

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

De

nuptiis

Aristides

Philologiae

which then

et Mercurii,

Quintilianus (3rd-4th

c.)

proceeds

o n the classification

to b o r r o w m a t e r i a l
of m u s i c a l

by

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; o n Isidore

Strunk

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

u n i v e r s e is i n P l a t o ' s Timaeus,

music,

p r o p o r t i o n , a n d the

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

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

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 .

that

verities) a n d that w h i c h is d i v i s i b l e ,

T h i s substance was d i v i d e d into sections

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,

whose

1 : 2, 2 : 3 , 3 : 4 a n d

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

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
a n d his behaviour.
A l t h o u g h B o e t h i u s ' De institutione
includes

chapters

about

music's

musica
ethical

( e d . F r i e d l e i n 1867, t r a n s . B o w e r
power,

the

harmony

of

the

1989)

spheres,

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

sizes

i n the

smithy)

and

other

matter,

its c h i e f

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
1967,

1978,

1988,

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

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

the

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

1978).

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
the G r e e k G r e a t e r

and Lesser

Perfect

S y s t e m w a s of great i m p o r t a n c e .

Since

he

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

m o d e r n A-a\
genera,

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

Boethius

p r o v i d e d far

more

information

than

was

useful

to

medieval

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

was

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 .

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

pitches.

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.

The

legacy

of

Antiquity

E x . V . 2 . 1 . B o e t h i u s ' division of the m o n o c h o r d

F i r s t d i v i s i o n of the m o n o c h o r d
I

1.
2.

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 :

AB
CDE
F

4.
5.
6.
7.

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

8.
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 :

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

3E
tone

A-~

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 r o m that

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

arrangement

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 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,

B-E,

C-F,

D - G , E-A.

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

and

the

occurs
Since,
D-Git

446

V. Plainchant

and Early

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

Greater

Perfect

Medieval
equivalent
System

"nete hyperboleon
paranete hyperboleon
trite hyperboleon
mete diezeugmenon

hyperboleon

paranete diezeugmenon
trite diezeugmenon
paramese

diezeugmenon

~mese
lichanos meson
parhypate meson
hypate meson
lichanos h y p a t o n
parhypate hypaton
-hypate hypaton
proslambanomenos

meson

hypaton

Lesser Perfect
synemmenon

hypaton

d
c
b
a
G
F
E
D
C
B
A

System

'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

a
8
f
e

d
c
bb
a
G
F
E
D
C
B
A

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,

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
fifth,

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

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

added the names

of t h e e i g h t o c t a v e

species.

(Boethius

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

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 .

between

this nomenclature

a n d the c o m m o n

J.

A Pitch-System

for

447

Plainchant

E x . V . 2 . 2 . Species of intervals
species of 4th

in diatonic genus:

species of

in diatonic genus:

5th

species of octave in diatonic genus:

Hypodorian
n
/u
\Li7

Hypophrygian

6
*

Hypolydian

Dorian

* m
9

~ m -

Phrygian

r
w

--|

Lydian

V.3.

A P I T C H - S Y S T E M

4
9 g ^

'

Mixolydian

F O R

* "
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)

G r o u p of Treatises

Introduction

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

of t h e

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 .
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

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

next
Musica

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

disciplina

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

875),

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).

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 ,

a n o n y m o u s t r e a t i s e k n o w n as Alia
(Musica

enchiriadis,

psalmis

modulandis)

Scolica

musica,

a n d the Enchiriadis
a n d t h e Commemoratio

enchiriadis,

the

g r o u p of t r e a t i s e s
brevis

de

tonis

et

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,

only i n his c o m m e n t a r y

on

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,

142 f f . ) .

Remigius

B o w e r 1971,

Uhlfelder

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

449

Plainchant

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,

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

in

his

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
(Tibi

dixit

Oculi

mei

cor

over

sixty chant

a n d Deus

meum

semper

in adiutorium

meum

fifth

both begin with a rising fourth,

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 .

In

this

the

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,

nine
major

minor and major sixth.

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

consonant

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

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 ,

s 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

with

a n d then the reverse,

the
a-

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

G-F-E-D-C.

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

notated by H u c b a l d on six 'strings'

p.
e
A / \

it a

T
li

T
F.r

cp\

Isra

/V

//

\
in nun

his
1

hp

V.3.1).

do

/
p
/

nn

\
on

p\/ p
p

p\

\
ft

//

\sr

\ /

est

Ecce

ue-re I s - r a - h e - l i - ta

in quo

do-lus non

est.

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 ,

(est)

n e i t h e r letters n o r the

Greek

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).

This

continues

i n the

next

part

of

H u c b a l d ' s treatise,

where

he

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

the

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

represented

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

and other

instruments

follow a different

arrangement,

one

which

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,

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
A t this p o i n t H u c b a l d establishes

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,

c a n be f o u n d .

tetrachord.

For

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
(Ex.

hb-c

V . 3 . 2 ; compare T a b l e V . 2 . 1 above).

the

a n d so o n , a n d

D-E-E-G,

G-a-

In giving plainchant examples

to

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

described by H u c b a l d

ei dominus

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.

E x . V . 3 . 3 . I n t r o i t Statuit

Sta

- tuit

e-i

um

ut sit

ei as described bv H u c b a l d

do-

-mi

il - li

nus

tes

sa - cerdo-ti - i

- ta-men-tum

dig-ni

tas

pa - cis

in

et

ae-

prin - cipem fe-cit

-ter

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

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

other

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
melody for m o d e 1 ( E x .

V.3.4).

3. A Pitch-System

for

Plainchant

E x . V . 3 . 4 . H u c b a l d ' s letter-notation
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

elegistis,

dominus

domino

meo,

venter

a n d Quomodo

s t a r t i n g o n b> Erumpant

fiet,

monies

starting

sacerdos,

both starting on
a n d Beati

quos

b o t h s t a r t i n g o n a> a n d so o n .

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

chants

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
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 ,

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

Nevertheless, once t h e idea g a i n e d a h o l d

that

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
the m e l o d y B o s s e 1955,
( i i i ) The

439),

and his G l o r i a

no. 39).

E n c h i r i a d i s Group

of

(See W e a k l a n d 1 9 5 9 . )

Treatises

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,

lat.

1984.

7202 the

treatise

Musica

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

enchiriadis
its Scolica
Muller

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

Quern verepia

a n d t h e t r e a t i s e k n o w n as Alia

(1884)

and

Muhlmann

(1914)

rnusica

w e r e also c r e d i t e d t o H u c b a l d .
to

disprove

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

enchiriadis

a n d e v e n its date a n d p r o v e n a n c e

were

are u n c l e a r

able
(see

the

attributions.

(or the others),

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

decisive
north-east

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
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,

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

enchiriadis

is

to

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

examples,

illustrate

the

perfect

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

eight

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

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:

fifth

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.

The

Enchiriadis

author,

therefore,

has

an a p p r o a c h

diametrically opposed

to

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

E x . V . 3 . 5 . E x a m p l e s i n protus mode f r o m Musica

Modulatio

ad principalem
ia/7 .

MJlePluJF/

protum modum

Lau/da/tyte/'

enchiriadis

et subiugalem eius

Do/>mi/num^

de IP

J.

tf

da

453

for Plainchant

cae/>lis/\

.
r_

num

/ Lau

DU

.
de.

Qae_

Do^

Lo_

-j-

Li

caelis.

\z

aim

c_a

Lau

,
Cae/liP

caeAlo/

rump

lau/ ?da/ tep/

>

Deum

>

"

- ia.

notation

De/ um/ .

>

Al-le-lu

pitch

da

\ l
>

9i

L a u - d a - t e D o - m i n u m de ce-lis.

over

a century

before

pitch

9 * + >

Caeli cae-lorum lau-date Deum.

notation

was used

in

chant-books

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

repertory,

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)

eight p s a l m tones ' f o r the faster chants';

(c)

a series of tones w h i c h fall outside the regular e i g h t ;

(d)

different final o r m e d i a n cadences for the p s a l m tones.

In

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

grounding

are l e a r n e d ,

the student

i n office p s a l m o d y a n d the p s a l m - t o n e

will

have

(see B a i l e y
a thorough

formulas governed

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 :

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 .

t h e speed of

V.4.
(>)
()
(iii)
(iv)
(v)
(vi)
(vii)
(viii)
(IX)
(x)

T H E

M O D E S

General
A u r e l i a n of R e o m e
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

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

the

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 :

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

'In

(motifs,

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
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).

There

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
on a c h a n t

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

d i d not

develop

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

types.

The

eightfold division

must therefore

have relied p r i m a r i l y on the

more

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

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

de

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

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.')

I n t h e n e x t s e c t i o n of t h e Dialogus,

the

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

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

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
around it: D

resembles

a,

resembles

b,

resembles

c i n this respect.

There

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

scale-segment.

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 .
For

chants

with

p s a l m verses

s u n g to s i m p l e r e c i t a t i o n

formulas

(introits

and

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 ,

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
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 .

(ii) Aurelian

ofReome

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

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

(not far f r o m

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

had a modal

some

organization.)

of o u r e a r l i e s t

More

important

evidence

f o r the

that

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

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

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,

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

Aurelian
or

autem,

t h e l i s t o f i n t r o i t p s a l m - v e r s e t o n e s a m o n g the ' C o m m o n T o n e s of M a s s ' i n LU).

The

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 .
E x . V . 4 . 1 . Psalm-verse cadences and openings of mode 1 introits cited b y A u r e l i a n of Reome

fl

VLU

- * -

Jf
&\

999

uJ

Gau-de

te

in

do - mi-no

sem

per

^
m

~\
*L

lus - tus es

fmj9

-i

Ob

do-mi-ne

' m\
9 9

^s

-w w~
m

Sus - ce

- pimus De - us

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.

I n Gaudete,

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

Suscepimus

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

o n the s e c o n d .

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 ,

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

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

the

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

Saint-

V 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

T h e m o n k w a s a b l e to

spiriturn.

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.

Ecclesiae

T h e way i n w h i c h A u r e l i a n can

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
particular
borrowings

chant
from

parallels
the

the

musical

way

i n w h i c h the

knowledge

of

late

rest

of

his

treatise

antiquity

with

juxtaposes

quite

original

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

driving

of d e f i n i n g c o d e s of

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

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

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
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.

one w h i c h restricts itself to p r a c t i c a l

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

s e v e r a l c h a p t e r s of

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
John

Scotus.

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

H u c b a l d a n d t h e Enchiriadis

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 ,

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
t h e Commemoratio

brevis,

the terms are:

r authentus
jplagis

,
.
,
(modern D-mode)

j
deuterus

r authentus
. .
[plagis

,
.
.
,
(modern L-mode)

tntus

[authentus
.
[plagis

.
.
_
. ,
(modern r-mode)

.
tetrardus

r authentus
.
{plagis

,
.
~
,
(modern G-mode)

protus

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

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

Greeks

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

deuteros,
p l a g i o s b,

etc.)

d e s i g n a t e d a,

p l a g i o s c,

b,

c,

d,

a n d p l a g i o s d.

and four plagal ones,

By good fortune

designated plagios

evidence

of t h e

a,

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

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

oktoechos.

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,

invested

with

slightly different

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,

s i n c e modus,

meanings.

was
tropus,

T h e nearest

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:

four p r i n c i p a l o r 'authentic' ones a n d four

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

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

transpositions

point,
bore

would

display the different

the Greek

names

octave

Hypodorian,

species.

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 ,

T h e different

H y p o p h r y g i a n , a n d so o n .
modus.

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

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

modus

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 ,

t h e Enchiriadis

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

change course i n m i d s t r e a m (actually, i n c h . 8).

(v)

Greek Names

and

I n c h . 9 o f Musica

Octave

enchiriadis

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

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

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

musica,

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

combined

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.

The

eighth

mode,

the

Hypermixolydian

(literally

'beyond

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,

as

reported

by

Boethius.

Ptolemy

did indeed

advocate

an

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

musica

justified the d i s t i n c t i o n between D o r i a n

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

chordam)

which

is

'guardian

of

its

quality'

(qualitatis

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

(rnediam
For

custodem).

the

a).

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
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

species.

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

musica,

it is

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

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

tropus.

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 .

E v e n the ranges of the

T a b l e V . 4 . 1 . Greek and medieval

modal

names

Boethius

Alia

musica

Phrygian

Dorian

Tonaries, Hucbald,
A u r e l i a n , etc.

Authentus
Protus

Hypodorian

Hypodorian

Dorian

Phrygian

^ Plagal
galis

7+^

Authentus
Deuterus

Mixolydian

Hypolydian

Hypophrygian

Plagalis

Lydian

Authentus
Tritus

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

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

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 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

evidently

characterized

m o t i v a t e d by the

melodies to

written pitches.

by

need

to

In

some

a strongly practical purpose,

t r a i n the

a b i l i t y to

respects they

are

relate
thus

heard
the

and
and

are
sung

successors

to

Hucbald's writings.
The

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

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

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

t h e a u t h o r s h i p of t h e Dialogus

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

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',

183-224

NG):

(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 )

a n d t o n a r y ( C S i i . 117, f r o m a

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

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 a t o n e uses f o r

finding

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

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

above).

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 describe the perfect consonances f o u r t h ,

fifth,

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

A B
2 3

C
4

F
7

D E
5 6

G
8

a
9

b
17

T a k e a length of string T X

2.

d i v i d e T X by 9 :
divide A X by 9:

A
B

T X : A X = 9:8
A X : B X = 9:8

d i v i d e L X by 4 :

C
D
E
F

L X : C X = 4:3
A X - . C X = 4:3
B X : E X = 4:3
C X : F X = 4:3

G
a

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

4.
5.
6.
7.

d i v i d e A X by 4 :
divide B X by 4:
divide C X by 4:

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

T X by 2:
A X by 2:
B X by 2:
CXby2:
D X by 2 :

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 :

i
c
d
e
f
g

16. d i v i d e a X b y 2 :

a
a

aXuX

17. d i v i d e F X by 4 :

F X : b X = 4:3

occur i n chant

musica

10 11 1

1.
3.

de

= 2:1

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

examples,

v e r y m u c h as

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

resembles

(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

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 -

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 ,
GS

i . 2 4 9 , also

C S i i . 121). T h e p r o b l e m is relatively m i n o r ,

a n d is

perhaps

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),

qui operati',

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

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

recommends a different procedure: the opening s h o u l d be

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

[amen]

would

final.

eliminate

the semitone

step

under

the

dico vobis

(AM 4 8 9 ) . T h i s

T h e antiphon

would

then

4.

The

465

Modes

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

various versions

qui operati,

the same with final F

altered opening, final G

Lucca, final c

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

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)

h a d best e n d o n t h e

rule:

mode towards which

' A chant

belongs

most to that

final,

Individual

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

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 ) .

Eight

chapters,

one

for

each

mode,

provide examples

to

prescriptions.

E x . V . 4 . 4 . Ranges of chants in the eight modes, Dialogus

Mode 1

Mode 2

T
Mode 3

Mode 4

Mode 5
_

Mode 6

de

musica

illustrate the

above

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

cantors'

('furtivam

singularitatem

a presumptoribus

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

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

various ways. N o t e s w h i c h o c c u p y similar scale-segments

to o n e of t h e f o u r

finals

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

r u l e o f t h e first m o d e :

'similitudes' between
Ex.

therefore

not without reason

is i t c a l l e d

notes a n d modes w h i c h the author enumerates

first'.

The

are g i v e n i n

V.4.5.

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

( v i i ) Guido

of

56

12

34

56

78

12336

56812

musica

34

56

78

12

Arezzo

G S i i ; C S M 4 ; B a b b 1978; D M A A . I l l ,
Waesberghe

de

1951, ' G u i d o ' ,

I V ; S t r u n k 1950; O c s c h 1954; S m i t s van

1953, 1957, Expositiones,

1974; Waeltner a n d B e r n h a r d

1976.
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

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

o r Epistola

de ignoto

cantu.

ad

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 .

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
agreement

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,

cantor

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

T h e m e l o d y G u i d o uses m a y

laxis.

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

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
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,

UT

queant

SOL-ue

la - xis

pol-lu-ti

G u i d o of A r e z z o

R E - s o - n a - r e fi-bris

LA-bi - i

re - a - t u m

M l - r a ges-to-rum

sancte

FA-muli

tu-o-rum

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

Di - li - gi - te do-minum

re-quirer

( L u c c a , B i b l . C a p . 601, P a l M u s 9, p . 456)

Dominum

omnes sancti

e-ius +

quo - n i - a m

ue-ri-ta-tem

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

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,

n o t a t i n g Diligite

dominum

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

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,

w h i c h w o u l d then be translated into

in staff-notation.

D-D-C-D-F-E-D

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 naturale'.

'hexachordum
O n e other

d u r u m ' ) ; the

hexachord

on

pedagogical device subsequently

was

the

attributed

to

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

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

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
the

hand in a Bavarian manuscript

of t h e

twelfth century,

Munich,

Bayerische

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

are

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

1969,

129 f o r f a c s i m i l e , 1 2 0 - 4 3

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

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 ,

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 ,

of t h e Dialogus,

is affinitas).

The

longer d i s c u s s i o n i n the

( 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

the

Micrologus

( 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.

ut-re-

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 ) .

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 ,

then

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

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

e n u m e r a t e d i n t h e Dialogus),

s a m e as

those

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

E x . V . 4 . 8 . T h e modi vocurn,

and

Early

Music

Theory

G u i d o of A r e z z o

, , 1

===

,, 1

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 .

1 0 : ' D e m o d i s , et f a l s i m e l i

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
e t h o s of t h e

modes

references back

to

and on

c o m p a r i s o n of t h e e l e m e n t s
mentioned

( I V . 1).

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

classical

theory

(there were

(!),

constitute

i n t h e Dialogus).

Although

its r o o t s

rare

Guido's

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

been

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,
16)

none

B o w e r 1989), these chapters

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

in

(15-

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

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

u n d e r s t a n d i n g of c h a n t

two

primary

i n w a y s that

aims

11).

G u i d o ' s m a i n c o n c e r n is n o t a n

seem

to

w i l l facilitate the

be:

enhance

our

r e a d i n g of n o t a t i o n

(i)

to

and,

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

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
et al.

1972,

a l s o V i l l e t a r d 1912,

c o m m e n t i n g o n B o e t h i u s ' De

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

institutione

musica,

a n d a treatise o n the

measurement

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

(c.940-

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 ' ,

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

NG).

French

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

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

flourished

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

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 ,

or

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

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
w o r k s of the eleventh

century.

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

It
by

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
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 ,

of H i r s a u i n the B l a c k F o r e s t ,

from

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

1069

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,

t h o u g h u n a b l e to o c c u p y t h e see;

widely

read

popular

theologian

of

e l e c t e d b i s h o p of M e t z i n

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

his

time.

by

Other

figures

remain

most

somewhat

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 t h e

abbey

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,

and

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
1980,

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 .

The

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

figura

(see

B r o n a r s k i 1926,

also S m i t s v a n W a e s b e r g h e

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
'chordae

constitutivae' of each

mode,

that

is, t h e

notes whose

1969,
fifth,

modal

90),

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

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

Staatsbibliothek,

elm

1 8 9 3 7 . W i l l i a m of H i r s a u ' s

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
A u g s b u r g also spent
Enchiriadis

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 .

The

p r e s e n c e of

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

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 .

be

the

c u l t u r a l l i n k s of

an

472

V. Plainchant

and

Early

Music

T a b l e V . 4 . 2 . Writers on music theory in south Germany

Theory

in the eleventh

century

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)
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)

Expositiones)

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)

( 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

otherwise they

will

a n t i p h o n a e , Alias
musica],

be

that

certain

antiphons

i m p o s s i b l e to locate

oves habeo,

Domine

be

o n the

qui operati

sunt

transposed

up

a fifth,

monochord ('Nisi

for

enim

hae

[ m e n t i o n e d i n t h e Dialogus

de

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

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,

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

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

V.4.8).
musica

w r i t i n g s . B e r n o ( G S i i . 69), i n

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

pentachords

('Protus

constat

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

these tetra-

H i s ninth

flexible

t h a n the

and

chapter
octaves

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,

r e l a t i o n s h i p b e t w e e n the

Berno,

final

like his Italian contemporaries,

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
finals

discusses

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

the

component

w h i c h exists b e t w e e n the

foedus

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

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

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

( 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,

60-

fructu

operum

tuorum

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

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

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 .

Whether

one

G-mode

regards

the

piece

as

F-mode

(with

hypothetical

E\\ a n d

or

Eb)

( 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)?

( 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

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
theory

of a f f i n i t i e s G

has

no co-final?)

The

scale-segments used i n the

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

fructu

has at least o n e D

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

cadence,

Vatican/

Cistercians

a n d its o p e n i n g

T h e Cistercian revision

mortalia.

step, and strengthened the D - m o d e

element,

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,
Vatican/Solesmes

&,

"

Montpellier H.159

"

Between

Berno

t w o versions

and

=
the

younger

Reichenau

monk

Hermannus

Contractus

( ' H e r m a n the C r i p p l e ' s e e t h e m o v i n g b i o g r a p h i c a l s k e t c h b y h i s p u p i l B e r t h o l d ,

M G H

(Scriptores)

Annates

Oesch

1961,

c a m e the

117)

et

chronica

aevi

Salici,

267,

PL

143,

i m p a c t of G u i d o ' s w r i t i n g s . T h a t

H e r m a n n u s ' t r e a t i s e is i n a n y w a y l i k e , say,

the Micrologus

25,

Ger.

trans.

is n o t t o say

in character.

G e r m a n w o r k of t h a t n a t u r e o n e m u s t t u r n to J o h a n n e s ' C o t t o n ' . ) B u t

that

(For

Hermannus

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

interest

is H e r m a n n u s ' r e s p o n s e

to G u i d o ' s h e x a c h o r d a l modi

those

vocum,

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,

scalefinal

to

o r 'seats of t h e

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 .

tetrachord),

V.4.10).

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 D ( a n d d).

F o r t h e a u t h o r of t h e Dialogus

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 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

o n either side.

But

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
t e t r a c h o r d s . T h u s A, D,

a,

a n d d h a v e p r o t u s q u a l i t y , B,

E,

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

graves,

t h e r e f o r e has d u a l q u a l i t y .

b, a n d e h a v e

deuterus

a n d f o u r t h note of the

Ex. V.4.10.

M o d a l qualities of notes, I l e r m a n n u s C o n t r a c t u s
modal quality
protus deuterus

P
P

tritus

tetrardus

tinales-

superior

47

excellentes

p
synemmenon

3^=

It is t h e r e f o r e n o t s u r p r i s i n g t o find H e r m a n n u s a s s e r t i n g t h a t t h e t e t r a c h o r d s

A-D

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
n o t e o f t h e graves

a n d ends w i t h the p r o t u s note of t h e

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

finales,

whereas the

D-G

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,

E-b,

F-c,

G-d),

finales

tetrachord a n d the

t h e o c t a v e s b e t w e e n finales a n d excellentes

{D-d,

superiores
E-e,

F-f,

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)

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,

if y o u

meditate

m a n y versicles i n their

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

abstract

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.

(x) Later

Syntheses

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

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.1030). I n the t w e l f t h

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

1957;

on Cistercian plainchant

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
De plana
NG).

a n d De

musica

From

plainchant;

the

early

ed.

mensurabili
fourteenth

Herlinger

1985)

musica
century

we have

a n d the Pomerium

t h e Lucidarium
(concerning

(concerning
polyphony)

M a r c h e t t u s o f P a d u a ; a n d of t h e s e v e n b o o k s of J a c o b u s of L i e g e ' s m a s s i v e
rnusicae,

Book 6 concerns

1240,

(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 ' ,

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).

(The

of

Speculum
above-

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
done

even

on

anonymous

some

ones

of

see

the

the

better-known
bibliographical

named

authors

information

in

of

chant

Palisca,

theory;

for

'Anonymous

theoretical w r i t i n g s ' , A G\)

r

Whatever

the

intellectual attractions

of

H e r m a n n u s ' 'seats of

the

modes',

the

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

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).

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

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

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

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

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 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

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

at t h o s e p i t c h e s .

( 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
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,

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

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

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
m o d a l i t y of a c h a n t . T h e
applicable,

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

through transposition,

to

any s i t u a t i o n l i k e l y

to

p a t t e r n m a d e it

arise

i n the

chant

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
shown

by

the

fact

fourteenth- and
tonal orientation.

that

even

fifteenth-century

i n the

much

more

complicated

tonal

designs

of

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

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

early

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

has

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 study-

N o attempt

is m a d e i n t h i s

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

book

( 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

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

have

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.

displaced local repertories,

commonly

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).

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

Carolingian

VI.2.
Baumstark

T H E C H U R C H E S

OF

C H R I S T E N D O M

1958.

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

of t h i s t y p e

methodology
between

remain

have,
as yet

the different

theological

however,

hardly begun,

unanswered.

It

must

a n d even
also

be

questions

admitted

that

of

basic

contact

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

differences,

for example

the s e p a r a t i o n

of c o m m u n i o n

caused

by

the

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,

w a s p r e s i d e d o v e r b y St J a m e s

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
about

the

year

49.

But

after the

Jewish

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

revolt

of

66

and

consequent

had little i m p o r t a n c e .

Then

Roman

i n about

326

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;

Chalcedon

Eng.

i n 451

trans.
the

Gingras

patriarchate

1970,

Wilkinson

of J e r u s a l e m

was

Christianonirn

1971).

At

created.

the

Series

Council

A f t e r the

of

Islamic

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).

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

centuries

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 ,

was by

the

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 .

The

Greek church

of

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,

2.

The

Churches

481

of Christendom

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')

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

churches.

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

( 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

James'

language.

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

G r e e k i n its l i t u r g y .
Books

of

the

Syrian

rites

were

rarely

notated,

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

though

some

notated

ones,

o n the m u s i c of t h e v a r i o u s

Syrian

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 .

(See

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;

was

accomplished by
The

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

Husmann.)

patriarchate

of

A l e x a n d r i a , second

in rank

to

Rome

before

the

rise

of

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
name

' 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

became

known

descended

as

the

Coptic

f r o m ancient

church

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

after t h e

use

of

i n the l i t u r g y . T h e

the

vernacular

church

became

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 ,

(Coptic,
relatively
ekphonetic

C o p t i c chant

has

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 ' ,

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

churches,

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 ' ,

NG.)

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,

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

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 ' ,
The

(See

Hannick,

NG.)

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 .

Monophysite from

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
century.

S i n c e the d e v e l o p m e n t

G e o r g i a n monasteries

sixth

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

i n the H o l y L a n d (St

Sabas near Jerusalem

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

the
the

and on M o u n t

(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

(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
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 .

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
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

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

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

f r o m the

ninth century

(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

Velimirovic,

NG.)

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

the

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

comprehensive

the

early centuries

liturgical books

(the

until
eighth

the
and

time

from which

ninth

centuries),

we

first

attempts

have
to

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

repertory,

an

independent

rite

and

even

an

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

independent
its e a r l y

Old

liturgy.

2.

The

Churches

483

of Christendom

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

codified i n the twelfth century,

constitutes

prime evidence

of

the

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

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
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

Rhone

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
Frankish-Roman

liturgy i n the eighth and n i n t h centuries.

A certain amount

of

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

VIII.6).

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
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 )

a n d later c h u r c h m e n

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
this

happened

during

the

sixth and seventh

centuries,

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

remained
customs

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
eighth and n i n t h centuries.

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

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

the

fifth

century

until

the

Islamic

i n v a s i o n of t h e

eighth),

'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

much

can

be

learnt

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

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
rites.

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

sanctioned

s o - c a l l e d E d i c t of
the

freedom

of

Milan

of 3 1 3 ,

w o r s h i p of

by w h i c h

Constantine

Christians (and

adherents

and
of

Licinius

any

other

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

circumstances

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

have

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

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,

privately, a n d the H a l l e l

both part of the T e m p l e

psalms were

s u n g at t h e

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,

(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 -

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

Syrian

Christian,

representative

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

of n e w C h r i s t i a n

composition

(McKinnon

psalms, a n d m a y be
1 9 8 7 , Music,

23-4;

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

M c K i n n o n 1 9 8 7 , Music,

psalmous:

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 '

119).

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

orthodox

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
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

i n the medieval Western

h y m n s o f P a s s i o n t i d e : Gloria
Much

liturgy are perhaps

laus et honor, Audi iudex

of the m u s i c a l c o m p o n e n t

a strophic solo

a strophic song i n dialogue f o r m .

of e a r l y

rnortuorum,

Their

the processional
a n d Pange

Christian worship must

lingua.

have

been

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

from

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 ,

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,

20).

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
first

three centuries

the eucharist

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

religious m e a l , the agape o r love-feast.

S i n g i n g clearly took place d u r i n g the agape.

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 ,

mentions

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,

Music,

43,

Taft

1985, 2 6 - 7 ) .

attributed

to the R o m a n

describes

a n agape w h e r e

A document

priest

k n o w n as t h e Apostolic

H i p p o l y t u s , w r i t t e n i n the early

the Hallel

third

Tradition,
century,

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 ,

with

' 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 .

Thus

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

evidence. T h e

these religious observances,

we

have

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

almost

no

precise

single piece w h i c h

has

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).

T h e Greek vocal notation

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
in

the

authentic

G-mode

(or,

less

anachronistically

stated,

u s i n g the

diatonic

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

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

the

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,

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

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
liturgy described

by Theodore,

b i s h o p of M o p s u e s t i a ( 3 9 2 - 4 2 8 ) ,

north-west

of

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
that

more

extended

liturgical actions

m a y have

p r o v i d e d the

occasion

for

new

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

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

was

continual

r e c i t a t i o n of t h e

prayer

O l d Testament

and

praise,

psalms.

This

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

( 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 .

St Augustine),

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,

M c C a r t h y 1960), the

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
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

( e d . d e V o g u e 1964,

Magistri

trans.

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

vespertinurn)

(Domine

clarnavi

Deus mens ad te de luce vigilo)

ad

te

. . . elevatio

manuurn

for m o r n i n g prayer
meanirn

sacrifichtm

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 .

148-

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

fixed

h o u r s , so a r r a n g e d that

p e r i o d , usually a week

1985).

Cathedral

uses

with

(see

the
the

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

performance

like

their

practicethe

original

melodies).

division between

Even

in

important

matters

of

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

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

considerable

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
between

monastic

Testament

and secular practice,

and between

the p e r f o r m a n c e

of the O l d

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

described

by

Socrates and

i n t h e face o f n o n - b i b l i c a l

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
Sozomen

( M c K i n n o n 1987,

Music,

101-4).

General

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

things

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 ,
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

flourished

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 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

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

soloist a n d

has,

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

(c.560-633),

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

x i x , De ecclesiasticis

officiis

6.

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

official's

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

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

antiphon

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

(or

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

1953,

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

' E n t w i c k l u n g ' provides

j u d i c i o u s r e v i e w ) . I shall extract

the

most

possible

comprehensive

and

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

9 . 7 . 1 5 ; M c K i n n o n 1 9 8 7 , Music,

154).

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 ,

writing

i n 4 2 2 , b u t d e s c r i b i n g the same

events

as A u g u s t i n e , that

at t h i s

time

' 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

1967 p o i n t e d o u t t h a t

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 ,

VI.5.)

in his

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 ,

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,

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

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

first

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

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 .

In

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
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,

see also B r a d s h a w

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 .

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,

a n d the q u e s t i o n

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 .
H u c k e 1953,

(See

' 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

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

would

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

have s u r v i v e d w i t h

performance:
fifth

p s a l m verses

apparently intended for responsorial

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

monastery

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

to go w i t h t h e m ( M c K i n n o n

1 9 8 7 , Music,

170).

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

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),

and

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
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

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).

has

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 ,

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

(c.470-542):

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

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

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
pp.

(Warren ed. Stevenson

1987,

lxxxiiilxxxix).

The

sense

of c o n t r a s t i n g

monastic

and non-monastic

offices

has

been

dulled

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

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

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
communities.

A f t e r the

reforms

of t h e

eighth century

in F r a n c i a , clerics

were

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 '

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 ' .

(The

' 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 .
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

'Laudes\

and Vespers.
Great

responsories

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

other hours.
The

'Lucernarium

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

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 .
The

Sonus

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,

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

simpler

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

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

Te

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 .

the

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 .

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

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

is

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
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).

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

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

century. Whereas an O l d Testament

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

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

St

Ambrose

congregations

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
involves them

i n the

service

( M c K i n n o n 1987,

Music,

127);

w h i l e he

may

not

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
chant.
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)

is

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
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

the

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
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,

10. 3 3 .

155).

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

unexpected

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
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

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

says

pontificalis

that

the

psalms

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 .

The

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
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

exist

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
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)

The Introit

and

Other Chants

at the Start

of

Mass

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

Roman

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

1931-

6 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 ,

has n o p s a l m a n d is t h e r e f o r e

by

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
would

seem

that

ceremonial

considerations

stimulated

the

development

of

the

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

some

have

' 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

X V

( 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
Roman

l i t u r g y , he

is t h o u g h t

to h a v e

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 ) .

The

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
1962,

i . 417, 420;

D y e r 1982,

15):

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.

T a b l e V I . 5 . 1 . Chants at the start of mass in four

rites

Roman

Gallican

O l d Spanish

Milanese

Introit

ad praelegendum

ad praelegendum
Gloria

ingressa
Gloria

Kyrie

Kyrie
Trisagion

Trisagion

Kyrie ?
Gloria
Benedictus/Sanctus D e u s

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 ' .

This

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

antiquae

liturgiae

68says

Gallicanae

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

a n t i p h o n Sanctus

Deus

was sung instead.

angelorurn

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

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
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 ) .

(iii)

The

Chants

at

Communion

V e r s u s ad r e p e t e n d u m

are

also to be

f o u n d i n the

same

early

sources

for

the

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 c e n t u r y Expositio

antiquae

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

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

in a way

which

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

Greek

J u n g m a n n (1962, i i . 490)
Son

Holy Spirit

Son

antiphon

psalm verse

Gloria

psalm verse

trikanon,

16),

i n t e r p r e t s as f o l l o w s :

Father

The

1971,

Father
antiphon

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 .

O n c e again O r d o R o m a n u s X V

(Andrieu

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
i n t r o i t (see

above).

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 ,

though

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 .

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
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,

11 a n d 109).

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

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
performs

the

psalm, but

M c K i n n o n 1987, Music,

there

is also e a r l y e v i d e n c e

8 2 , 120, 144.)

of a c h o r a l r e s p o n s e

(see

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

present.

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
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

trecanum,

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 ) ,

then

the

Old

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

(iv)

The

chants.

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

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

firm

an

evidence

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

chant.

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
reports

he

was

criticized

for

introducing singing

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,

from

the

psalms

i i . 11 o r a l t e r n a t i v e

both

'ante

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

(called

cells

p r o c e s s i o n . I n t h e Expositio

an antiphon)
antiquae

is s u n g t h r e e t i m e s

liturgiae

Gallicanae

during

an

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

parts

of the B y z a n t i n e

mass

alleluia correspond

liturgy, the 'Great

to one of the most

Entrance',

where

the

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

T a b l e V I . 5 . 2 . Chants
Roman

VI.5.2.

beside the lessons in four rites

Gallican

O l d Spanish

Milanese

Prophecy

Prophecy

Prophecy

Benedictiones

Benedictiones
P s a l m o : Clamor/
Threnos
Preces

Epistle

Epistle

Gradual
Alleluia/
Tract

Responsorium

Epistle

Epistle
Alleluia/Cantus
A n t i p h o n a ante e v a n g e l i u m

A n t i p h o n a ante e v a n g e l i u m
Gospel

Psalmellus

Gospel

Gospel

Gospel

Sanctus post e v a n g e l i u m
Preces

Laudes

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

(as w e l l as i n its n o r m a l

consecration).

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

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

' 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

antiphoner)

form.

The

Old

Spanish

psalmo

(psabni

i n the

pulpitales

Leon

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

the

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,

the

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

of its use

is d i f f i c u l t to i n t e r p r e t ,

not

least

b e c a u s e of

possible

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
extension

phrases

to

many

chants

when

sung

during

Eastertide.

One

possible

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,

1 9 7 3 , to c i t e o n l y r e c e n t

W e l l e s z 1947

studies.)

a n d 1954,

Martimort

(See
1970,

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

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

officiis,

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 ,

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

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),

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
sequences,

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

(Jammers),

melodiae

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

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,

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

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
it f r o m t h e l a t e r

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
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 .

alleluia

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

suggested.

possible

developments

i n the

Western

rites

may

therefore

be

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

has a r g u e d that the

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

of t h e s i n g i n g of a c o m p l e t e

remnant

psalm.

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.

G R E A T

G R E G O R Y

T H E

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

(i)
(")
(i")
(iv)
(v)
(vi)
(vii)
(viii)
(ix)
(x)
(X,)

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

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)

the

1968,

Introduction

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

between

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 ,

unlikely that what
e v e n if w e s u b t r a c t

finally

it is

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 ,

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

the

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

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
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 ;

occasions

a n d (ii)

the

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

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

A t a C o u n c i l h e l d i n 595

( 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

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

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 ,

about

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

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

' 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).

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

the

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 .

( i v ) Isidore
Rom anus

of Seville;

the L i b e r p o n t i f i c a l i s ; the List of Chant

'Editors'

in

Ordo

XIX

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
c h . 27, P L 75.

ecclesiasticis,

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)

490),
knew

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
was p r e s u m a b l y the
Ildefonsus

of

source

Toledo

of s o m e

(c.607-67)

of t h e

(De

viris

i n f o r m a t i o n i n the
ch.

illustribus,

2,

life by his
PL

96),

pupil

likewise

u n h e l p f u l in the present case.

The

Liber

pontificalis

(editions

by

Duchesne

and

i n M G H ) is a

composite

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

fifteenth

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.

It

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

(687-

7 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
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

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 ,
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

personages.

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 '

(edidit\
circoli

ordinavit)
cantum).

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

annalem

cantum;

( 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

anni
Holy

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

selective i n

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

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

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 ' .

(v)

The Anglo-Saxon

Tradition

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

come

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 ,

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
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,

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

G r e g o r y i n t h e Liter

on Ezekiel. T h e
pontificalis,

author

h a d access to the

information

about

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

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

567.

as m u c h f o r w h a t it says a b o u t t h e
seventh

century

made

various

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

w i t h the attitude d i s p l a y e d i n the

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,

'Thurstan').

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 ,
p r o v i d e s the

link with

the

Carolingian

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 .

era.

Ordained deacon

at

Rome,

he

was

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

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

Eadberht

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

B i b l i o t e c a C a p i t o l a r e 490),
1979,

antiphoner

fragments

from

Lucca

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

(Lucca,
(Froger

' 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

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

1968,

n o . 1401,

also facs. G a m b e r 1 9 6 2 ,

o t h e r s are u n n o t a t e d .

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

(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

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)

shorter a n d the other ( i n P L 75. 1-59)

the

being

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

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,

58-242).

p r i n c i p a l l y o n three Montecassino

m a n u s c r i p t s of

the

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 -

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
W a r n e f r i d gives the

' 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

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)

a d d the d o v e , but

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
notices

that

G r e g o r y , d i c t a t i n g i n the next

r o o m , is m a k i n g p a u s e s ,

Gregory's

and, spying

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

222).
on

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

( P L 75. 9 0 - 2 ) ,

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
as

verse

by

Stablein,

M M MA

'antiphonarium centonem

2.

143*).

In

ch. 6

we

are

told

that

Gregory

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

palace

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

( v i i ) The

Abbatum).

'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

at s o m e

time

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

praesul

is t h e g i s t o f t h e v e r s e

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

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

praesul

p r o l o g u e itself w a s c o m p o s e d

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

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,

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

prayers i n the ' G r e g o r i a n ' sacramentary

(Ashworth

1959,

authenticated

1960),

their

homilies and other

are r e c k o n e d to b e b y G r e g o r y t h e

identification

depending

on

parallels

Great

with

his

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 ,

'In

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

P e r h a p s by analogy w i t h the sacramentary

s e n t to C h a r l e m a g n e ,

perhaps

because

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

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

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

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 :

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

Paris 17436

GREGORIUS PRAESUL

GREGORIUS PRAESUL

MERITIS ET NOMINE DIGNUS

MERITIS ET NOMINE

UNDE

GENUS

slightly later):

DIGNUS

DUCIT

SUMMUM CONSCENDIT HONOREM

S U M M U M CON DESCEND ENS HONOREM

QUI RENOVANS M O N U M E N T A

RENOVAVIT

PATRUMQUE PRIORUM

PATRUM

TUM

ET COMPOSUIT HUNC

CONPOSUIT HUNC

LIBELLUM

Monza,

F r a n c e i n the m i d d l e o f the n i n t h

MUSICAE ARTIS

MONIMENTA

PRIORUM

LIBELLUM

SCOLAE CANTORUM

SCOLAE

IN N O M I N E DEI

PER A N N I

MUSICAE ARTIS

CANTORUM
CIRCULUM

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

honorem

. . .', t h o u g h

without

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

Modes

Reception

of the Gregory

Legend

in the Ninth

Century

and

Later;

350).

the

Dove;

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).

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
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.

773; for fuller iconographical i n f o r m a t i o n

39).

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 ,

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

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

the

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

(?)

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).

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

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

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

document

w h i c h attributes

the c o m p o s i t i o n

of

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
France

to H a d r i a n I a n d C h a r l e m a g n e ,

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

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

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

and

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

i n P a l M u s 3,

Hesbert

1934,

198

and /IMS,

p. xlviii,

several

(See

articles

by

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 ,

and

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

to

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

Gregory

II (715-31).

weekdays

were

W e m a y assume

already

i n existence

that t h e c h a n t s
before

then.

for the other

Nearly

all the

twenty-six
twenty-six

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.

T h e s e a r e Oportet

Videns

te,

Qui biberit,

Nemo

te condemnavit,

Lutum

fecit

and

dominus.

Three

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 .

Morin

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.

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,

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
biberit

fecit

bore the
a n d Qui

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

c 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

inconsist-

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

the sixth- or seventh-century

a special
redactor

musical
w h owas

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

scrutiny

masses

have

o l d and simple

communion

antiphon

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 .

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

But

the

available

evidence

does

not

permit

this.

Apart

from

the

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.

first

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

N o d o u b t m a n y of t h e

same texts w e r e s u n g w i t h the

same liturgical

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

i n the

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

context,

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

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

repertory.

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

' G r e g o r i a n ' are

l e d to t h e

I N T R O D U C T I O N

establishment

inextricably bound up with

of t h e

chant

repertory

political developments

we know
of t h e

as

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

practice,

church
as

far

i n his d o m a i n s h o u l d f o l l o w the
as

possible,

which

liturgy

naturally included

the

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

notated

books.

comments

final

section

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

renaissance'.

V I 1.2.

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

IN

F R A N C I A
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

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

whatever liturgical

in liturgical matters w i t h

other

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

1985,

and 159-60 respectively).

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

W i l l i b r o r d i n F r i s i a f r o m 690,

new

G e r m a n territories

into the

Christian fold:

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 ,

in

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

congregation,

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

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

M e t z ( M G H ( S c r i p t o r e s ) Scriptores

rerum

Sangatte

nsium,

etc., 2 6 0 - 7 0 , P L 95.

720;

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
celebrated

mass i n different churches on different days, was introduced i n M e t z

( K l a u s e r 1930,
Pepin

as

Andrieu

the

1930).

prime

mover

is

then

repeatedly

mentioned

in

the

numerous

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
1960,

230-1,

265-6).

What

Charlemagne's

governance.

repeated

and

time

time

his father
The

again

had

begun

i n j u n c t i o n to
in

the

became

s i n g a c c o r d i n g to

numerous

(Vogel

a prime element

capitularies

Roman

issued

use

under

of
is
his

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

Capitularia

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 ) .

Franconim,

Charlemagne's

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

been

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

ecclesiastical

'Admonitio
and

g e n e r a l i s ' of 7 8 9 ,

educational

reform,

he

Charlemagne's
recollects

the

extensive
w o r k of

proposals

King

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 ;

M G H Capitularia

i.

g o o d k i n g is c a r e f u l of t h e

54,

c i t e d b y M c K i t t e r i c k 1977,

observances

of

his people,

2).

suppresses

The

re gum

idolatry, and observes

the

for

Josiah

in

Francorum

religious

(written)

law.

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

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

between

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
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

of

Saint-

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

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,

one

i . 121). A r c h b i s h o p L e i d r a d

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 ,

Karolini

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.

V I 1.3.

T H E F R A N K I S H

E X P A N S I O N

O F T H E

C H A N T

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 .

Other

differences

genre.

t o u c h o n the

selection

of t h e

alleluia, a notoriously unstable

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

of

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).

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

chant

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
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

cannot

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

earliest

centuries.

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

earliest

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
Easter

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 ;

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

me

f o r G o o d F r i d a y is i n n e i t h e r

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,

Domine

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

l a t e c o m e r to the r e p e r t o r y .
The

choice

settlement.
offertories

of o f f e r t o r y v e r s e s w a s also n o t

at t h e t i m e of t h e

Frankish

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

Gregorian repertory w h i c h

( 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,

2.

fixed

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).

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 ) .

Whatever

the

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

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

(11.23).

dialogue may well have been w r i t t e n i n the n i n t h

k n o w n all over

Europe

by

the

end

of

the

millenium.

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 .

Its
The

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
t h e e n d of t h e m i l l e n i u m ( 1 1 . 2 5 ) .
6.

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

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

CAO

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 .

The

chief m u s i c a l interest

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 ,

of t h e

latter

lies i n

the

a purely artificial arrangement

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

Crocker

1986

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

(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
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

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

ex

almost
were

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

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
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

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 ,

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
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

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

de

music a a n d G u i d o of

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 ?
again

it

is

possible

to

envisage

the

expansion

of

repertory

to

the

Once

point

of

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

fiction,

themselves.

the earliest s u r v i v i n g t o n a r y

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
as

late

eighth

centuryshows

that

the

eight-mode

system

was

already

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

VIII.2).

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

Saint-

R 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,

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 )

i . 246; cited by M a n f r e d Schuler

w a s a m u s i c i a n i n t h e t e m p l e of

King

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

triumphum

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

consequence.

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

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).

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

octo tonis

disciplina

34) a p p e a r s t o

in musica

(Gushee

(GS i.

1963 a n d C S M

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

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

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
that

Hucbald,

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

been

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 .
Despite

the

Charlemagne
understanding

apparent
himself,
of

lack
it

what

is
a

of

new

there

writing

that

'musician'

the

should

on

music

foundations
be.

For

theory
were

i n the
laid

Boethius

for

there

time
a

of

new-

was

an

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

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 .

may

be

Something

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
( 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

(VI.4-5).

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,

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 .

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
Old

Roman

chant

is n o t

the

only old chant

repertory

of

Italy,

If t h i s is

'Roman?
a n d it

bears

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

three ' O l d Italian' repertories

understand Gregorian chant,

for u n d e r s t a n d i n g O l d

are d i s c u s s e d i n V I I I . 3 - 5 .

To

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

the

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,

preoccupation
Gregorian

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

of e a r l y

chant.

But

studies
not

with

o n l y has

the

reason

m u s i c still s u n g i n the

historical circumstance

f o r t h i s is
Roman

contributed

the

church,
to

their

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

will

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.

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.

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

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
entrance

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 ,

(communion

Rome

basically o n l y one

two dozen koinonika

chants).

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

because they

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

each

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

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

2, 58*)

other

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

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
(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,

' B y z a n t i n e R i t e , M u s i c o f t h e ' , NG\

of

see t h e

B r o u lists over

forty

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 ;
Jammers

1969

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 ;

(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

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

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
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

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

Old

Beneventan.

(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

'noeanne'

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
o f v a r i o u s g r o u p s of c h a n t s ,

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

intonation

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
have

exerted

influence

on

the

shape

of

certain

chants

which

otherwise

had

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

for

the Adoration

of the Cross and

Other Chants

in Old

Italian

Repertories
T h e a n t i p h o n s O quando

in cruce,

Adoramus

crucem

tuam,

Crucem

tuam

adoremus

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,

21-2,

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
forebears.

F o r example,

O quando

in

cruce,

found in Beneventan

and

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

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 ;

Elisabeth,

w h i c h both appear

Levy 1958-63).

(iv)

The

Trisagion

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

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
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

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

(v)

The

other.

Frankish

Missagraeca'

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',

\9S9 Doxa\
i

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

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

others

manuscripts
origin 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

and

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 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

under

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

the

' 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
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

as

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),

tu

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

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

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

(Agios)
Sanctus

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

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

M u n i c i p a l e 75 ( S a i n t - V a a s t

(Brou

1 9 3 8 - 9 ) a n d a set i n C a m b r a i ,

them

known,
Dies

Bibliotheque

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 ] ,

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

172-

certainly

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

rite a n d consequently

i n Gregorian chant-books.

L e v y has uncovered a

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.

offertory

chant

communion

Omnes

qui

O n e of these, the

c a n be f o u n d i n R o m a n

in Christo,

o n t h e S a t u r d a y of Easter

week. W h a t

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

is m o r e ,
eis

sources

it appears
with

Christon,

as t h e
to be a

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

Alleluias

T h o d b e r g 1966.
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 )

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

Week,

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

t h e s e a l l e l u i a s are a l s o k n o w n ,

Thodberg's

analysis embraces

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

= Dominus

Quoniam

In te domine

deus

magnus,

Epy si kyrie

regnavit

the Gregorian and

decorem,

speravi;

Oty theos

S n o w h a d already

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 ,

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

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

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 ) .

It appears i n v a r i o u s l i t u r g i c a l

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

H a n d s c h i n 1954;

for

the Octave

L c m a n e 1958; S t r u n k 1964 = 1977,

of

Epiphany

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

for L a u d s o n the O c t a v e

Epiphany. The

Veterem

B y z a n t i n e originals have

been

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
guessed

that

the

pieces

were

the

same.

A t least t h e

mode

is t h e

same

in

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 ,

both
closer

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)

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

Three

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

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 .

There

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
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,

and Bryant, 'Aquileia',

NG.)
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

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

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 .
by

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

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

the

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
was superseded b y the G r e g o r i a n .

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

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

but

eighth and ninth

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,

there

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

differences

office,

where

variety between

uses is a l w a y s m u c h g r e a t e r .

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

Other

of t h e l i t u r g i c a l a n d t e x t u a l

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

p r i n c i p a l sources

'Vieux-romain', Frenaud

of t h e

O l d R o m a n melodies

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,
Bodmer

private

collection

antiphoners (Rome,

Bodmer

C.

74,

San

1959).
are t h r e e g r a d u a l s

Pietro F . 22,

formerly

Phillipps

(Rome,

a n d the
16069)

Martin

and

two

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 ,

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

C . 74

has been

published

( 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 .

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 ;
P i e t r o F . 22, f r o m the t h i r t e e n t h

together

74.
t h e latest is S a n

century.

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.

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

C o n n o l l y 1972,

introits:

'Introits

' A r c h e t y p e s ' , C o n n o l l y 1975,

V a n D e u s e n 1972;

graduals:
tracts:

H a n s S c h m i d t 1955,
Stablein in M M M A

alleluias:
offertories:

D y e r 1971,
Murphy

communions:
office antiphons:

great responsories
psalm

tones:

ordinary-of-mass

C o m m u n i o n s ' ; see

2,

also

Connolly

1972,

1980

see also H u c k e 1955,

1957,

'Gregorianischer',

1956

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 '

1977

N o w a c k i 1980;
of mode 2:

D y e r 1989,
chants:

and

Connolly

completed:

see also N o w a c k i 1985

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 ,

'Singing'
Boe

1982

1976

(iii) Examples:
Stated

Communions

very broadly, and allowing

for n u m e r o u s exceptions,

Old Roman

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 ;

chant

the text

is

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

recitation passages, cadence

figures.

in both

types

of c h a n t :

intonation

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

Old Roman

R e - u e - la - bi - tur

glo - ri - a

do - rni - n i

Gregorian

Re-ue-la-

-bi - tur

glo

ri - a

do -

mi-ni

****
et

ui-de-bit

om-

ui-de-bit

om-

-nis

ca-

1
et

sa - lu - t a -

s a - l u - ta-

-nis

-re

-re

ca-

De-

De-

-i

no-

-i

nos

-stri.

tri.

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

p a r t i c u l a r l y the
between

the

two

versions.
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 ,

communions.

' 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

(For

but marks them by

parallel

example,

melismas,

see

Hucke,

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

(iv)
The

florid

idiom.

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 .

I n E x . V I I I . 3 . 2 I g i v e the v e r s e s Celi enarrant

g r a d u a l s A summo

celo a n d Angelis

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,

(v)

ut palma

another

w a s n o t s u n g as a g r a d u a l
a n d In manibus

for the

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
five-phrase
first,

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

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 ,

which

as h e r e .

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 .

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
m e l o d y (see N o w a c k i 1985,
Valde

honorandus

antiphons

est

u s i n g the

246-7, Exx. 4-6).

a n d Si

vere fratres

melody which

Nowacki

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

E x . V I I I . 3 . 3 is a n e x a m p l e of t h i s :

are t w o m e m b e r s
has

in Frere's

of a l a r g e f a m i l y o f

labelled D . 2 . L
d i s c u s s i o n (AS

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

The
65),

equivalent
Gevaert's

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 )
r

and /;/ manibus portabunt

te ( R o m e , B i b l . A p .

Lll
Ce-li

e-

-nar-

f.41v

In

ma-ni-bus

J?
ft

por

ta-

-bunt

'*sQ*m)
' '"4

glo-

-n-am

SttZ

m*\
"d

&l*T\
**>

De\*

** **U

W
U

M
'!

Z*M

" V

1\

'_'<*o

M f*

Ms

et

-i

te
/

*
m

o - pe - ra

manum

wi

ne

un-

# f

-quam of - fen-

# f # #

^CV.

ad

-das

i#

W 9*0*-9

09 0M0j
m

annun-ti-at

-pi-dem

-men

^ '#*7l

fir-

-ma-

S.

^M.

pe-

W WQ

-dem

- turn.

in the O l d R o m a n repertory,

Type G .

1 i n N o w a c k i s a n a l y s i s . Specie

tita

is a n

a n t i p h o n w i t h the G - m o d e m e l o d y i n b o t h t r a d i t i o n s .

(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

Gregorian

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
semitone step, f o u n d i n twenty-seven

usually more than once i n the

same

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

pieces,

more

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)
v

Old Roman

3 E
Valde

in

ho-no-randus est

be - a - tus Io - an

- nes

qui su-pra pectus

do-mi-ni

ce - na re - cu-bu - it.

Sarum

Valde

in

ho-norandus est

ce-na

be - a - t u s Io-han-nes

qui supra pectus

do-mi-ni

re-cu-bu-it.

Old Roman

Si

ue-re

fra-tres

0~

di-ui-tes es-se c u - p i - t i s

ueras d i - u i - ti-as a - m a - t e .

Sarum
0-

Si

V
w
V

0
/W
m

ue-re fratres

Old Roman
^
M *~

Spe-ci-e tu-a
Sarum
--v

-9

Spe - c i - e t u - a

di-uites e s - s e

m
wf

m
w

j^
v
>

m
*

if

ueras d i - u i - t i - a s

V
tu - a

et pulchritu-- d i - ne

cu-pitis

-#-

et pulchritu - d i - ne tu - a

m0

a-ma-te.

in--tende prospe-re proce-de et

in -tende prospere

-*v

reg-na.

pro-ce-de et reg-na.

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

with

final.

E x . V I 1 1 . 3 . 4 is t h e verse Qui propitiatur

f r o m t h e o f f e r t o r y Benedic

anima

mea i n

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)
v

Old Roman

'9

Qui p r o - p i - t i - a

tur

o m - n i - bus

in - i -

-di - met

-qui-ta - ti-bus

de in-te -

"

"

tu - is

ri-tuui-ta

tu-a

qui co - ro-

in m i - s e - r a - t i - o-

-ne

et

mi-se-ri-

-cor-di

a.

Gregorian

Qui p r o p i t i - a -

qui

om-ni-bus

et

re - d i - m e t

-tur

co - ro -nat

<r

de in

t e - n-tu

uitam tu

in - i - qui-ta - ti - bus

tu -

is

* 4

am

9^9

*2

* H , *9H 9*4
M

te

9*9

in

mi - se - ra-ti - o-

ml*

99m

-ne

et

99

m i - s e - ri - cor-

S^f

f\

-di - a.

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

angelis

f r o m t h e o f f e r t o r y Scapulis

suis

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
v e r s i o n e n d s o n a,

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

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
cs o r ca

repeated

oscillations.

T h e O l d R o m a n offertories,

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 .

H e r e the t w o versions again diverge strongly.

Despite

the

difference

i n the

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

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>

fl>

Quo-ni

-f^Y

fm>
am

an - ge - lis

su-

-is

man

da - uit

de

ft ft
ut

cus-

-to

- di-

-am

ft

te

ft

om - ni -

**

bus

&^*9*9l

ui - is

tu

Gregorian

Quo - ni - am

an-

-ge-tis

ut custo-

-di - ant

ad

-pi

la-

te

dem

su-

ne urn-

pe - dem t u -

-is

manda-

-quam o f f e n -

-urn

-uit

de

-das

te

is.

( t h o u g h not f o u n d i n the above examples), and occurs nearly always i n the

same

places.

(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

' 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,

the t o r c u l u s

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
Alleluia

Paraturn

Ex. VIII.3.6.
fo. 89 )

cor

meum.

F i r s t verse of Alleluia

Paraturn

cor meum ( R o m e , B i b l . A p , V a t . V a t . lat. 5319,

Pa - ratum cor m e - u m

it}

C a n - t a - bo.

i ^
0

Can-

De-

ft
-ta

-us

ft
- bo

ft
et

pa - ra-tum cor

ft

ft

psalmum d i -

*
-cam

**

me-

do

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 ,

regnavit

decorem

(Andrieu

i n p a r t i c u l a r of t h e

1 9 3 1 - 6 1 , i i i . 363),

first

allowed

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

Dominus

regnavit

decorem

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
alleluia after the verse(s),
e q u i v a l e n t to t h e melodiae

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

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 ? )

p r i m u s scholae c u m parafonistis i n f a n t i b u s

Alleluia ( + jubilus?)
Alleluia + jubilus

parafonistae viriles
subdiaconus c u m infantibus

Verse 1*

subdiaconus c u m i n f a n t i b u s

A l l e l u i a (4- j u b i l u s ? )

parafonistae viriles

Anouncement
Verse 2, part 1
Announcement
Verse 2, part 2

parafonistac
parafonistae
parafonistae
parafonistae

Alleluia (4

parafonistae viriles

jubilus?)

viriles
infantes
viriles
infantes

Announcement
Verse 3, part 1
Announcement
Verse 3, part 2

parafonistae
parafonistae
parafonistae
parafonistae

viriles
infantes
viriles
infantes

Request to a r c h d e a c o n * *
A l l e l u i a secunda
Alleluia 4 jubilus

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
same music as announcement

( v i i i ) Oral
Several

Tradition

writers

disagreement

have

pointed

out

that

the

Old

Roman

sources

are

often

in

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

that

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 .
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

11.15;

1950).

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
largely o n t w o sources

It

also

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

eleventh

depends
century

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

ritibus

ecclesiasticis

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
sacramentary

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

opened

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

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

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

(Milanese

books

combine

mass

and

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 ) ;

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.

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,

l i k e t h a t of O l d R o m a n

chant,

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

of t h e

seventeenth

B o r r o m e o , was w r i t t e n by Perego

century,

reflecting the

reforms

of S t

Charles

(1622).

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
and vespers

respectively,

t h e Antiphonale

( 1 9 3 5 ) a n d Liber

missarum

vesperalis

( 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

(tracts)
antiphon

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

published
'Ambrosian

(1988).

Multiple

in parallel by
Rite,

versions

Claire

Music

of

of t h e

(1975).

the',

(For

antiphons
further

A^G; Heiming

1978

of t h e

ferial office

b i b l i o g r a p h y see
surveys

were

Baroffio,

recent

liturgical

research.)

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

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

vesperalis,

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
early

sources,

of

which

only

twenty-seven

corresponded w i t h relatively few exceptions

were

commonly

used,

and

to the t h i r t y chief a n t i p h o n

these

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
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

Gregorian

office

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

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

analyses have

formulas

in

the

been

psalmelli

( 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

parentage.

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

the

O l d Roman

offertoriesis

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

o r f o r m u l a s to

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,

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 .
T h e t r a n s i t o r i u m Gaude

( 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

et letare

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

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

o n t h e o t h e r h a n d , is

omnes,

a n d includes a lengthy melisma i n the

final

phrase of text.

In

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 ,
ornamental

figures

are o m n i p r e s e n t :

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

at m a s s ,

the office

responsory.

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,

a n d ' i n baptisterio'

of the m o r n i n g service.

These

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.

usual i n responsorial practice

T h e performance

i n the R o m a n

rite

some
scheme

(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

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

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
various sections,

f o r the early manuals d o not specify the arrangement

in full. B y

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 ) :
soloist

responsory
responsory

magister and boys

responsory

schola
soloist

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

primae m a g i s t e r a n d b o y s
schola
magister and boys

4.
Ex. VIII.4.1.

Old

Italian

T r a n s i t o r i u m Convertimini

Con-uer-ti-

-mi-

mun-

om-nes si -

cor-

-de

543

Milan

mul ad

et

136)

De - urn

a-

- n i - mo

in

II:

omnes ( L o n d o n , B r i t . L i b . A d d . 34209, p .

-ni

-do

Chant

o - ra-ti-

fun-di-

-o-

-ne

-te

ie -

preces uestras

iu-

-ni -

is

et

cum l a -

ut

de - l e -

_o

-a^

Pri-

-tis

< n

-us-

s u - p e r - u e - ni - at

in - te - ri

=S

ro-

-gra-pha
* ;

-quamuo-bis

p e c - c a - torum u e s - t r o - rum.

re-pen-ti-

tus.

An-

-nus

-te

<r

ab - s o r - b e

- at

cum e r e - a - tor nos-

~w -
w

~#

"

4-

**
in - ue - ni

-ter

ra-

-tos nos

quam uos profun- -dum

e

et

Pa -

Cf)

mortis

cy

mul-tis

<r

T j i mT>

gi - l i - i s

-cri-mis

ui -

at.

ad-

-ue-

-ne - rit

m*
9 M.
9

\\

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)

four boys (in ambo)

alleluia (twice)

lectors ( i n choir)

verse

lectors

alleluia

four boys (in ambo)

a l l e l u i a w i t h melodiae

primae

lectors

a l l e l u i a w i t h melodiae

secundae

f o u r boys (altar steps)

a l l e l u i a w i t h francigenae
Moneta

Caglio

reassignments
melodiae.
for chants

25).

listed

of mass

forty

four boys (in choir)

'responsoria

alleluias. A m o n g

c u m i n f a n t i b u s ' , of w h i c h

these h e i d e n t i f i e d s o m e

fifteen

f o u r are
sets of

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.

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,

T h e putative o r i g i n c a n be

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

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
e n h a n c e . W h e n melodiae

secundae

which

they

replace a n d

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

t h e g e r m c e l l . S i x s u c h sets o f melodiae

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
f o u r t h S u n d a y i n A d v e n t , Sperent

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

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

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

m e l o d y , o n l y several p l a u s i b l e ones.

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

a n d melodiae

secundae.

Melodiae

tertiae

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)

^k*

*
Sperent in

p
f

quo-

te

-mnes qui no-ue-

0-

-ni-

-am

non

V.

Ti-bi

# V >

de-

que - ren-

-tes

do-

te

-runt

no - men

-re-

-mi-ne.

de -

re-

-li-

pu-pil-

tu -- um

- l i n - ques

,
-per

do-

-mi-ne

&.

&*J-

fmzs ""

-lo

tu

-ctus est pau-

' " ^

e-

-ris

ad-

-iu -

tor.

A
Que-ren
n

tes
O

te

*l

61^

ft)

*'*

-mi -ne.

G a l l i c a n o r i g i n , t h o u g h t h e r e is n o p r o o f of t h i s . It a p p e a r s t o b e a n i c k n a m e l i k e t h o s e
of s e q u e n c e m e l o d i e s : ' O c c i d e n t a n a ' , ' M e t e n s i s m a i o r ' , ' B a v v e r i s c a ' . A H t h e

melodiae

can be d e r i v e d f r o m the m o t h e r alleluia, the 'Francigenae' f r o m A l l e l u i a V I i n Bailey's

edition.
T h e ' F r a n c i g e n a e ' a r e a b o u t 2 4 0 n o t e s l o n g ; A l l e l u i a V is a b o u t 110 n o t e s l o n g , i t s
melodiae
space

a b o u t 2 4 0 , i t s melodiae

primae

secundae

o v e r 3 2 0 n o t e s l o n g . B u t t h e r e is

here to s h o w o n l y a m u c h m o r e m o d e s t e x a m p l e . E x . V I I I . 4 . 3

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).

gives the
T h e notes

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
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 .

E x . V I I I . 4 . 3 . Melodiae

P
P

S-*

****

A1 -1 e -

of A m b r o s i a n A l l e l u i a V I ( L o n d o n , B r i t . L i b . A d d . 34209 p . 269)

* fits

0*

**** [
-lu-

*0 4

-ia.

4ft.
] +

*4***[

***-

p
W e d o n o t k n o w h o w o l d t h e M i l a n e s e melodiae

* * * * * *

***H|n|fc*r*

i n t h e i r present f o r m m a y b e , just

as w e d o n o t k n o w t h e age of t h e O l d R o m a n melodiae.

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
sort?
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

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

between

Gregorian and

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

me f o r

Invocavit

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

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.

T h e O l d R o m a n uses t h e f i g u r e G(a)bcb,
25,

in Milan

respectively.

a(b)cdc,

o r b(c)ded

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

conventional

figures,

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

recorded i n sources no older than the eleventh c e n t u r y .

versions are

S h o u l d we reckon with a

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)
v

Gregorian

A
In - u o - c a ^ 1 2
3
Old Roman

-bit
*t

me
5

m~* 93.3

*~0

J-

^0

et

e-

-go

ex - a u 9

11

-di - am

10

9^ ^

- um

e
13

12

JL

BP

*7*tt*

*Vim

ffC *-*

^ ' V

M.

0*.

s^****

*s-

-9

'

-bis
Ambrosian
-

i:

f.i**

:*

r,,^

Gregorian

dr

e-

15

jL
Q

11

9^

-ri-

-pi - am
17
18

16

Old Roman
0

f=9^

-*x,,ii*

M* M

e19

9*y> 9* 9&
9* 9 O
*
m

9 9,3

9*
90

rt,

-um
20

et
21

0il

1 i
cu
9 30
m

glo-ri
22 23

*
-

Ambrosian
1

0M.

i^JM,

fi - c a 2<t
25
ifi

-bo
26

f*^*

^^9
90<*k 9*0*9 M * - ^
p i ' * 9*00 "~*9
*0*f9

Gregorian
i i i

e-um
27
28
Old Roman

Ion

. 29

gi - tu - di - ne
50 31 32 33

P&09
di - e3<t 35

-rum
36

9* *9&

Ambrosian

Gregorian

=5=
e-

-um.

Old Roman

Pita
Ambrosian

ad
3 7

ii

ple39

-bo
*.0

x^s
00*0
B

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?

Franks,

then

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

by

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
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?

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

flourish,

t h e e x t r a r e p e t i t i o n of a

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 .

Of

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
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

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

sources

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

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

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',

Kelly

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

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,

Archivio

C a p i t o l a r e 38

Beneventan

masses (eight

a n d 40,

i n b o t h of w h i c h

and thirteen respectively)

a number

are

of O l d

are s i m p l y c o p i e d a f t e r

the

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

and south

century,

gradually converted

conquer

Ravenna (Byzantine)

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

o r R o m e itself. S o o n after the L o m b a r d seizure of

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
Frankish

kingdom in 773-4,

survived

i n one f o r m or another,

incursions,

until

leaving Benevento

its e x t i n c t i o n

N o r m a n s . A s w e l l as B e n e v e n t o

Italy to the

as a n i n d e p e n d e n t

i n the teeth

of b o t h

duchy.

i n the mid-eleventh century

at t h e h a n d s

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

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

This

Frankish and Byzantine

of the
Sofia,

practice.

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

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.

T h e Milanese repertory,

with forty-four

concordances,

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

Milanese;

for example,

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

the O l d Beneventan

offertories

are s h o r t ,

simple

pieces

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 ) .

Then

again, i n some

general O l d Italian practice

instances

w h i c h contradicts

we appear to be d e a l i n g w i t h a

Gregorian; for example,

the same

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

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

b y the simple

the especially

long

Easter

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

ABCDEFG
* *
###

^tirge proper a

^ ^ ^ ^ ^ ^ ' ^

Gaudeamus

* *

omnes

ABCDEFG
# ##
##

# # # # #

ABCDEFG
* * * * *

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 .

ABCDEFG
^

ABCDEFG
%t

n& at

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.

T h e y support the b r o a d hypothesis that O l d Italian

chant

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
m o r e , the B e n e v e n t a n

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

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
Archivio

Capitolare

Beneventan
eleventh

33

(PalMus

20),

which

both

contain

H o l y Week liturgy in significant quantities,

chants

is

others.

Benevento,
the

Old

b o t h date f r o m the

of

early

century.

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
basically

a simple

Hymnum

canite

recitation

around

the

semitone

step.

The

communion

chant

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

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 H y m n u m

225; Benevento, A r c h . C a p . 38, fo.

. . . Mediolanensis,

(after

canite

47 )
r

Ambrosian
jfr

Hymnum ca

- ni

,.

te

ag

ni

mun-

la - va -

-di

Old Beneventan

3r-

-A

' *

Ymnum c a - n i -

-te

ag-

-ni

;Tj n

t
mun-

-di

cro

la - ua-

-cro

Ambrosian
yr\
i y
V

-tis

re

d)

fon-

*\9

-tis

- ti-a

*~M
S

ti

v 1/

k 9*.

re-

i>0

-na - ti

JT

*M

'*TA

*9

lu-jah

cor-po-

9J

hal-le-

-lu-jah.

Old Beneventan
Jf
t{T\

ViU

*D

*-*9

09

t- ^

/"fete s~~m
'- 9L0 S

AT?I

99

9m

j^sv

LH
9

9 #M\
#

Al - le-

Jf
M\

m
1+9)

Al-le-

9"

"""""V
9-J^

/"A m*\ /*k m

L
^
C
m l
9
9

4~1
9

M /"*"\ *

9-3T\
9

*W ^

U_
M

-lu-

*****
9

'

*
Al - le - lu - ia
#

- l u - ia

Old Beneventan

+9

-re

Chri-sti

*M*M

*m

sa - ti - a - ti

mk
9

x-u

Hal - le

corpo-

Ambrosian
fA\

m*M

mj M

na - ti

0 Old- Beneventan
^
9 9

sa

ton-

i \)

/~9

* \
9

-re

*
9

Chris-ti

S u r i o l ' s M i l a n e s e Antiphonale;

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

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

recitation

pattern

(see

Kelly

1989,

107

for an extract a n d other

38,

Beneventan

examples).

The

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

VIII.6.

115).

G A L L I C A N

L e c l e r c q , ' G a l l i c a n e (liturgie)', DACL;

C H A N T

Gastoue 1939 ( 1 9 3 7 - 9 ) ; Porter 1958;

Stablein,

' 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

the',
The

NG.

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

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

or 498.

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

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.

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

affect chants,

have been

between

s u m m a r i z e d above

the

various

(VI.4-5).

The

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

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 ,

of 'a r i t e ' , u n i f o r m i n f o r m a n d

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

the

service-books,

antiquae

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

t h e Histoiia

Erancorum

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

were m a n y variations w i t h i n a general

pattern.

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,
7,

content

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

3 2 0 - 6 ) a n d t h e s e reflect

the d i v e r s i t y of u s a g e .

108,

275-

T h u s the l e c t i 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 . 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

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

texts:

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

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

fragments

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.

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

t h a t it is

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

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
7

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 ' ) .

H e mentions

Rome's

' 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 '

the

language

one

concordance
differs f r o m

perfect

has

to

look

flowery

Walahfrid's remarks
for

texts

with

GEE,

been

and

the

between

discussed:

the

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
into concrete

musical terms.

Gallican hallmarks,

preferably

with

In
a

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.

Analytical techniques

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
(CDD,

s c i e n c e of c h a n t '

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

d i f f i c u l t to t r a n s l a t e

practice

'more

i n G a l l i c a n use. T h e stylistic contrast

c o n c i s i o n of t h e R o m a n as against t h e
more

c h . 22, w r i t t e n i n the

rebus ecclesiasticis,

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

o r DEE,

EGG,

Gaa,

are

not

yet

well

enough

so-called ' G a l l i c a n

cadence'

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

This

audisset.

a n t i p h o n , Curvati
Cum

audisset

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

sunt,

iste',

w h i c h recurs

i n an

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 :

the s c r i b e h a s g i v e n a n

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

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

are to be f o u n d f o r o c c a s i o n s

when

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
Franks

to

Prosperum

the

Roman

iterfaciat

mass-books

may

p r o v i d e the

( e d . S t a b l e i n i n MGG),

B i b l i o t h e q u e N a t i o n a l e , lat. 776

(11th

c.)

occasion,

as

i n the

introit

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

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

the

first

p a r t of t h e

G a l l i c a n mass,

reassigned

i n G r e g o r i a n b o o k s to the

Minor

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

listed

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

(MGG)

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

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

W h i l e the

Franks

Quadragesima Sunday

may

well

(see AMS,

have

be

and Wright
suis m u s t be

a d d e d t h i s g r a d u a l to t h e

mass

on

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

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

liturgies for local F r e n c h

patron saints:

St

Denis,

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,

preserved

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

procession

of

some

splendour,

a 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

sit dominus

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

apostoli

non-

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

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.
part m u s i c a l c o n c o r d a n c e s

Gastoue

to b e G a l l i c a n ( e d . S t a b l e i n i n

O n g r o u n d s of t e x t u a l a n d i n

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.

P
P
P
P

Cum

Processional a n t i p h o n Cum audisset populus (Paris, B i b l . N a t . lat 776, f o . 54 )

v

au - dis-

-set

po-

-pu-

-lus

ac-ceperunt ramos p a l - m a - r u m

et clamabant pa - ri - ter

qui-a Ihesus ue - nit Ihero-so-

et

di-centes

e - xi-e-runt

hie

e -i

est

-li-mam

ob-ui - am

qui uenturus

est

zwwz
ad s a - l u -

-tern genti - um

hie

est

salus

nos-tra

9*~

et

redempti - o

q u a n - t u s est
qubn - txs fst

Is - ra - hel

~9
*
9 ?
*
et d o - m i - n a - c i - o - nes oc-currunt
ft dp-mk-nbek - p - nfs pc-cxrrxnt

is - te
ks - tf

c u - i tro-ni
cx-k trp-nk

et

He-ma-nuhe

ex mundi

hie

m *

ge - nus

sal-ua

+9

super pullum

tor

** 1wO

e c - c e rex tu - us

est

ue - nit

qui ue-

-nis-ti

se-

fi - li - a

-dens

sicut

scrip-turn

-me-re

nos.

est

9*

fabri-cator

rex

re-di-

Da - uid

ti - bi

a - si - ne

-ue

Is - ra - hel

No - li ti - mere

sal-

rex

mun-di

Si - on

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

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

Sanctificavit',

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

a n d Oravit

( O t t 1935,

Moyses

114;

est

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,

ed.

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

2, 350)

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
plus what

Oravit

was the

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

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

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

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

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 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

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

of

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 )
1

\J

/L
/Tv
r

*~

Jt

in

J -1 J

/"i

- m m

ci -

es

au- -tern

"

.
.

me-

-a

non ui - de - bi - tur

Am

fa -

OR

W0

*#
-em

non

ui-

-de - bis

ti -

"0

bi

OS
Gr

AM

JJ - J
J
qui - a

A J /

V ^ f J

e - go

" w ,

sum

De-

JJ J
~&*
^

-us

os - ten-dens

*+

mi-ra-bi-

OR

~m

OS
Gr
in

ter-

t-

Gr

fit *; rj W &

Am|

> < a / <

wag

(-ra.)

OR
in

ter-

-ra.

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).

( L e o n , A r c h i v o Catedral 8 ) ; Antiphonale

visigotico

1973,

Tones,

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

Roman

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

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

of

of I s i d o r e of S e v i l l e ( d .

officiis

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

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

the

extreme

north-west,

was

conquered

by

the

Omayyad

Arabs.

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

living

under

Muslim

rule.

Although a

'Spanish

mark'

was

established

under

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
the

eleventh

century,

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

in

1085.

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

II

( 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

by

Gregory

VII

(1073-85),

prime advocate

of p a p a l

supremacy.

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
been

abbot

of

Cluniac

Sahagun.

Some

churches

in Toledo

were

nevertheless

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,

firehave

c o m e d o w n to u s : see

King

510.)

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,

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
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

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

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

these

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

provided

the

basis

of

to o n l y t h r e e s o u r c e s ,

Cardinal Cisneros's

revision i n the

but

it is t h i s

fifteenth

to

that

sixteenth

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

of S t

Isidore's time, t w o early service-books

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

1904),

and

the

collection

of

office

prayers

'Orationale' (Verona, Biblioteca Capitolare L X X X I X ,

k n o w n as

the

Verona

ed. V i v e s 1946), particularly

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

chants

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 .

The

early

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

visigotico).

books

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
p s a l m o d y (see R a n d e l 1969,

'Psalmody').

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,

1985)

has

seem

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

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).

(the

two

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

H i s s t u d y of

responsory

examples

tones i n the

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

it. W h i l e some

chants

would

be

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
T

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

different

rites,

the

aboriginal Beneventan

a n d the

invading Roman

of t w o

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
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

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),

s p e a k i n g of g r a d u a l s , a n d seeing the

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

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 ) .

The

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

can

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 ,
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

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

Chabannes

( 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

(Chronicon,

II.

8,

ed.

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 ) .

One

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

the

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

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

v e n t u r e d a few remarks o n l y on those

persons

a n d places,

those

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 .

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
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

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

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

differences,

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

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

sources,

a m e a n s of

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

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,

that t h e r e a d e r w i l l f o r g i v e t h e

first

piecemeal

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

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

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

and Montecassino

(IX.3),

( 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

of p l a c e s w h i c h m a d e

particularly significant contributions

to the

chant

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

( 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

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

entered

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.

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 .

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

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

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

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 .
It

may

surprise

some

readers that s o m e o b v i o u s l y i m p o r t a n t

Chartres and Paris, or Weingarten and Regensburg,

centres such

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
for e x a m p l e ,

has b e e n

as
for

centuries,

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

Wright

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

of

liturgical books

or

particular

repertories

where

possible

in

is,

alas,

important
previous

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

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

reorganizations

strictly accurate for no p a r t i c u l a r date.

the

of c h u r c h a d m i n i s t r a t i o n it is

T o some extent the b o u n d a r i e s reflect

the

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.

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

The

1492.
which

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

t Trent
t kquileia

V>

Conw t

i Monza
^crceiH

t Milan J

*As/i

JPavi
,
Piacenza
fBobbio

/?
e

Mantua
U
t

Nonantola

y e r o n

f
'

VcM
Bologna t
Forlhnpopoir
* Ravenna
\^
Pistoia
Lucca i

'^4

ZaraiZadar)

Ragusa

Montecassino
s

"\

J Archbishopric
t Bishopric
t Monastery

Caiazzo

t Benevento

Pfl/cnuo
Catania

tf

l r o i a

-4-

Bah

/.

Introduction

M a p I X . 1.3. Ecclesiastical m a p of G e r m a n y

M a p I X . 1.4. Ecclesiastical m a p of France

Archbishopri

Bishopric

j-

Monastery

St-Omer
i

. .
Sl-Riquier

/ \

Bayeux

M P
MoHf-Sf-M/c/ic/

'i \c<3

cS

l(m

+ Sl-f\mand
1

Arras

* Cambrai

f Rriws

~~iT .

Beauvais

% '

SCJ//S

\yerdun

t Sf-Emw//

t Le Mans
\f

Neurit

Angers
\

Fontevmulr^

"'

t Besancon

Be urges f

Limoges t

"t" St-Leonard
Lyon t-

t SI-Ynr/v

La Grande

i /Kngouleme
t Auhllac

L<' PHJ/

Ari(/)i())J
i Audi

Mbi

)t Toulouse

Narbonne 5

Mich t

t
}
Gerona/

IX.2.

A M A L A R I U S

O F

Hanssens 1 9 4 8 - 5 0 , Cabaniss 1954, L i p p h a r d t 1965,

M E T Z
Roger E v a n s 1977,

Huglo

1979,

' 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

practice,

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
replaced

the

G a l l i c a n , the

Benedictine

and

Roman

forms

of

the

office

were

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

everywhere.

R o m a n exemplars were lacking, inadequate,

or

self-

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

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,

indicate that

if n o t e a r l i e r . T h e

way

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 ,

there

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

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

officialis

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.

The

Prologus

de

ordine

(r.840) (Hanssens, i . 361-3, i i i . 9-109

1977)

to a n a n t i p h o n e r that

refer

destination

is

unclear.

Its

(r.831)

antiphonarii

antiphonarii

in

parallel

contents
with

Liber

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 ,
are

noted

in

some

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,

and

the

Old

de

ordine

respectively; trans. Roger Evans

Roman

detail.

though

Hanssens,

in

as f a r as t h e y c a n

antiphoner

Rome,

its
a
be

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

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 ,

Amalarius' writings, which

were

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

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.

F l o r u s ' w r i t i n g s ( P L 119)

Agobard's revision chiefly consisted

H u g l o (1979, 'Remaniements')

also c o n d e m n A m a l a r i u s '

in removing non-biblical

texts.

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

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

dioceses.

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

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

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

have

Carthusians,

liturgy. (In

Plate

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

margin.)

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
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 ) .

too,
14,

Emperor

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

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).
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 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

fluidity

('M').

in liturgical repertories.

We

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
promulgated

at

the

Council

of

Aachen

in

817,

occasioned

both

revision

and

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 ,

(Bamberg,

Staatsbibliothek,

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

54,

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

early

reform

3.
movement

St

571

Gall

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

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
Metz

(919-62).

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

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 .

The

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

(see

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

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

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 ) .
where Stephen

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,

mentioned (VIII.2.iv).

Its a b b o t ,

of

Saint-Denis,
has also

H i l d u i n , responsible for the ' m i s s a graeca',

been
was

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

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

century

( 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

was
both

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

appear

the

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

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

484

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
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

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

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

Galli

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

102,

Sangallensium,

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

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

1962.)

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

I r i s h m a n M o e n g a l or

the parts r e l a t i n g to m u s i c

Sangellensium\

are

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,

380,

then

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

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

in

particular

contain

many

pieces

not

k n o w n elsewhere,

i n c l u d i n g the

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

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

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

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

(1977).

Schubiger

French

edited many

of

the

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

Gall

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,

600

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

the

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,

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.)

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

with

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 ,

chants

i n particular St

Gall

359,

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

339,

books

and

the

( 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

C a r o l i n g i a n or other,

any particularly authoritative

archetype,

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

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 mass chants

(Graduel

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 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

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

chants

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

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 ) ,

disagreements

the sources d i v i d e d into t w o m a i n blocs, eastern a n d

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

blocs.

Within

the eastern

agreement

to w i t h i n

agreement

the

bloc,

however,

six differences

western

sources

t h e great

m a j o r i t y of sources

( 9 4 % agreement),

could

only

form

whereas

mostly

very

were i n

at t h a t

level of

small

groups,

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

steps i n the d i a t o n i c scale.

Where many southern and

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

r e a d i n g s u c h as ded,
sign

o r aba

at a l l ) , n o r t h e r n

at t h e t o p o f a p h r a s e ( o r aba,

a n d especially

eastern

i f t h e s c r i b e uses t h e flat

manuscripts

prefer

dfd

and

aca.

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

Eastern bloc

25 groups, 83 sources

5 groups, 98 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)

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 ,

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)

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 ,

3.
4.
5.
6.
7.

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)

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)

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 )

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)

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

(927-42),

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

Venerable

(1122-57)Cluny

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).

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 .

The

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

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,

c a n be c i t e d ,

H u g l o 1983). Recourse

Roanne,

is

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,

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
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

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

treatise

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
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 ' ,

NG).

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 ' ,

renowned

for

the

unique

collection

of

conductus

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.,

(rhymed

Latin

songs)

and

w i t h f a c s i m i l e of t h e o f f i c e s ;

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

That

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,

and

attempts

have

therefore

been

made

to u n d e r s t a n d t h e

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
the

M o z a r a b i c rite

by

the

Roman

(see

Hamel

1950,

Stablein

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,

it s e e m s c l e a r t h a t

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

D e i on Easter

D a y . W h i l e t h e argurnentum

ex

sdentio

is n e v e r

reliable,

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 .

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
IX.4.1

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.

Cluny

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

577

post-Pentecost

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

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
IV).

rornain

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 ,

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.

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

to i n f o r m W i l l i a m about C l u n i a c observance.

Consuetudines

he

wrote

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

founded

Hirsau:
or

Prufening, Zwiefalten, and

reformed

from

Hirsau

itself;

SS

St

Georgen,

Ulrich

Schwarzwald,

and Afra,

were

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

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
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).

IX.5.

W I L L I A M

O F

D I J O N

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.

1967;

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,

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

other

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

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 .

from

years

of

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 ,

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

and

which

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

w a s g i v e n t h e p r o s u l a In

quoniam

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

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

h o u s e s . ( A s w e l l as CAO

5-6

members

a n d Graduel

of i t , t o g e t h e r

romain

with some

I V , see L e R o u x 1 9 6 7 ,

English
Michel

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

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

find

t r o p e s f o r the

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

twelfth-century

troper

f r o m S a i n t - E v r o u l t , for e x a m p l e ,

Paris,

Bibliotheque

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
and

tropes

of

its

time,

surpassed

only

by

the

collections

chants

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

monastery's

patron

the

saint

Evroult (Ebrulphus)

was

first

composed

a c c o r d i n g to

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

T H E

N O R M A N

C O N Q U E S T
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

Benedict

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

evidence

seems to tell against

such

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

ones.

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 :

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

was

(c.909-88)

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
anti-monastic
St Peter,

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

of

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

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

instruments:

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
he

composed

the

K y r i e Rex

splendens

a n d the

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 ,

a n t i p h o n Gaudent

in

are,

celis

1874). O s w a l d ( d . 992) was a m o n k

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 ) ;

he r e t u r n e d to E n g l a n d i n

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
made

archbishop

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

i n this period

of

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,

was

responsible

f o r the

restoration

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

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

Sepulchri

on Easter m o r n i n g .

a n d F l e u r y were not the only foreign sources

of i n f l u e n c e . A l r e a d y at

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,

1858, i .

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

complete

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

Bee

from

1063,

who

H e was succeded by

in turn became

another

archbishop

of

Canterbury (1093-1109).
T h e s e are the
a less i m p o r t a n t

figureheads.
company,

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

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-Saint-

M 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

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
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

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

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

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,
known

abroad, most i n France,

been

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

some i n eastern s o u r c e s p o s s i b l 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,

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

for

all

the

Winchester

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

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

process

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)

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

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
before the

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

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

who

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 :

the

graduals

London,

British

and Oxford,

Sarisburiense)

Library,

Add.

12194

(part

facs.

in

B o d l e i a n L i b r a r y , R a w l . lit. d . 3, a n d the

Graduale
antiphoner

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
AS),

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,

i n S a l i s b u r y a r o u n d 1260

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

made

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

following:

(i)

the

not

entirely clear,

seat of

the

but

archbishopric,

a m o n g the

c r u c i a l factors

were

Christ C h u r c h Canterbury,

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

the

was

cathedrals

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

Sarum

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

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 ,

which

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
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

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

flavour'

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

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

lux

est

hodierna

( 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

r e m a i n s see M c R o b e r t s 1952

Edwards
Scottish

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
T

fitting

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
be

fitting.

IX.7.
Planchart

N O R T H

I T A L I A N

T R A D I T I O N S

1985.

A p a r t f r o m t h e s e p a r a t e r i t e of M i l a n , a n d the s c a n t y r e m a i n s of o t h e r

non-Roman

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

m e n t i o n e d , a n d the o c c u r r e n c e

in

Italian

manuscripts

have

already

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 ,

been
Breton

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

Vercelli, Biblioteca

Capitolare

186,

the

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.

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

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
is n o t

unusual in north

Italy.

The

monastery

of

N o n a n t o l a , near

Bologna,

for

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).

(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
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

'Quern

Sepulchri,

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

eleventh

patriarchate

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

graduals
thirteenth

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

ancient

n o n - R o m a n chants

I t a l i a n s o u r c e s (see W i l m a r t 1929,
1970,

have

H u g l o 1952,

often turned u p in relatively

' A n t i e n n e s ' , 1954,

'Vestiges',

late
Levy

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

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

a n d l i s t s of t r o p e s i n C T

3 make comparisons with

other

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

verba

canite

Christi,

T h e v e r s e Eia

Resurrexit.

est hie

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

dicentes,

carissirni

d i a l o g u e , one where, after

NazarenumNon

sources and i n C a m b r a i ,

. . . he

nunciate

resurrexit

dominus.

'Quern

(Ex.

IX.7.1).

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

carissirni

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 .

n u m b e r of

B e n e v e n t o . Hodie

Rankin

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

queritis ).

T h e t r o p e v e r s e s Qui
small

Eia

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

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
1985,

quia

a n d Mirabile

elicit patri

Italian sources,
exultent,

from

appear elsewhere only i n a

laudat

N o v a l e s a near M o n t

Cenis, Pistoia, and

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

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

exultent

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
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)

(a)

same m e l o d y (Reier
t r o p e s , u n l i k e Hodie

1981,

i . 157).

exultent

iusti

that they all h a d the

A l t h o u g h Reier's examples were introductory

i n P i a c e n z a , Hodie

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

has e x a c t l y t h e s a m e

exultent

resurrexit

i n other versions

leo fortis

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
exultent
Quern

iusti
queritis

exultent

iusti.

Hodie

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
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

Hodie

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

with a

nostrum
festa

paschalia.

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

144,

and
and

' 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
f o r i t , Johannes

Jesu

Christo

a n d Laurenti

martyr.

Clara

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

David

magni

nobis,

gaudia

was

and another

7. North

587

Italy

E x . I X . 7 . 1 . T r o p e verses Qui die at patri, etc. for introit Resurrexi

(Piacenza, B i b l . C a p . 65,

fo. 235 )
v

TI

#s

fu*

ft

Qui di - cat

-tri

pro - phe-ti - ca

SU-PER

ME M A N U M

MI-RA

^fa

ET A D H U C T E C U M SUM

pa-

Mi-ra-bi-le

RESUR-RE-XI

PO-SU-IS-TI

rj
*S

lau-dat

- BILIS

&

FAC-TA

EST

fi-

uo-ce.

TU - AM

-li-

-us

AL-LE -LU-IA.

patrem.

SCI-EN-TI-A

D O - M I - N E PROBASTI M E ^

A L - L E - L U - IA.

TU-A

ALLE-LUIA

. \ , .x ET R E S U R R E C T I O - N E M
omitted)
e s

A L - L E - L U -1 A.

MEAM.

T3
J

Ho-ai

di-

-e

ex - ultant ius - ti

-ci-te

text for m a r t y r s ,

Candida

ia.

re-sur - re-xit

le - o

(followed by cues for

I n the earliest

contio.

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

for-tis

De-o

gra-ti-as

R E S U R R E X I and G L O R I A

substantial
gaudia

Italian collection

of

a n d N o t k e r ' s t w o texts

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

PATRI)

Clara

o n N o t k e r ' s texts
and

gaudia

Die

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

repetitive m e l o d y and consequent

an

Italian composition

further.
(see

I n fact

above,

the

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).

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

Ex. IX.7.2.

S e q u e n c e Clara
_

-m

C l a - r a gau-di - a

gaudia

festa paschalia

*
fes-ta

# ^

D u l - c e de-cantant al - le - l u - i a
ZMZ

T
iL:
In qua Christus per crucem redemit a - nimas i n - f e r - n o
A proto - plas-to quotquot in hoc s e c u - l o pro-ge-ni - te
1'.

pas-cha-li - a

Congaudent cetus per om - ni - a

&

(Piacenza, B i b l . C a p . 65, f o . 236 )

de-di-tas
fu-e-rant

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

Decantant a l - l e - l u - i a .

proces-sit
non cessat

mor-te
om-nis

uin-cto
e-tas

the

else.

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

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

L o m b a r d d u c h y of B e n e v e n t o
sources

of O l d B e n e v e n t a n

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

chant

are i n fact G r e g o r i a n b o o k s w i t h

in

the

principal

r e l i c s of

the

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

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

Planchart
Beneventan

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

chant

Beneventan

and the

region.

(The

burgeoning repertory

of s e q u e n c e s a n d

s e q u e n c e s are c a t a l o g u e d

by

Brunner

tropes

1985,

in

the

of
the

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
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

1920
22

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)
from

Montecassino:

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

1985)

( R I S M B/III/2, H u g l o

1969,

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)

from

Brunner
related

1981)
sources:

A p u l i a or possibly Benevento,

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.

1669

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

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

Boe

1985,

Kelly

occasionally

1989,

and

the

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
and Thibaut.)
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).

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

stimulated

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

G r e g o r i a n chant in Benevento

the

Great,

( K e l l y 1989,

as

a possible

agent

for

Frankish-

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

Twelve

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

(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

Chronik

that

von Montecassino,

of t h e g r e a t a b b o t

(Scriptores)

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

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

history (Bloch

been

marks a

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

repertories

of t r o p e s

at B e n e v e n t o

and Montecassino

a n d the

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

IV),

romain

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
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

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 ,

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

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

te

domine

Peccavimus

( 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

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 ) .

592

IX.

Ex. IX.8.1.

Persons

Rogation antiphon Peccavimus

and

Places
( N a p l e s , B i b l . N a z . V I . G . 34, fo. 6 )

Domine

Pec-ca - ui - mus do-mi-ne pec - ca - ui-mus

71

*ft *

et

pec-ca-ta

' #3

J-y-^EE

nos-tra c o g - n o s - c i - mus

N e x tc lceommeen - tfiasr-ssei d- me
l e s s oDe
n s ,- us
o n e doof- na
t h e no
m o- sbis
t e x tueen-sni vi -ea m
c o l l e c t i o n s k n o w n (see

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

clear

where

some

of t h e s e p i e c e s

originated. Were

they

brought

by

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
libri

Sapientiae

. . . Qui

f a r s i n g v e r s e s Ad
lesson

timet Deum

laudem

is l a r g e l y f r e e l y

regis glorie
composed;

faciet

bona

the
Lectio

for St J o h n the E v a n g e l i s t w i t h the

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

strongly with

the

regular,

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,

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 ,

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
natura,

Exultemus

in hac

die,

non

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

saints

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,

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 .

The

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.

Start of farsed lesson w i t h verses Ad laudem

etc. ( N a p l e s , B i b l . N a z .

regis glorie,

V I . G . 34, f o . 4 6 )
v

4
Tl

3 2
Ad

lau-dem

re - gis

f5?*
prop-ter
Io - han-nis

LI

3
- r2

glo - ri - e

uox

nr;
me-ri-ta

hec

LEC-TI-0

LI-BRI

in - to - net

ec - cle-si - e

* ^

re - ci -tans pre - c o - n i - a.

SA-PI-EN-TI-A.

T2
Pro-cla-mat

sa - lu - ber-rime

quam fi - de - les

L2

Pi

TI - M E T D E - U M F A - CI - E T

BO-NA.

WA

"

^w~

Ut p e r - c i - p i - a t

car - mi-ne

per-pen-di-te

9
QUI

T3

s p i - n - t u s sancti

gau-di - a

9'V

L3
ET

QUI CONTINENS EST IUSTI-TI - E

APPREHENDAT IL-LAM

ET

OB-UI-A-UIT

IL-LI

f9

con - di - to-ris perhempni-a.

<

'

QUA-SI MATER HONORI-FICATA.

XI.9.

R O M E

H u s c h e n , ' F r a n z i s k a n e r ' , MGG;

1963, Sources;

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,

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

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
r

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

Innocent

III

liturgical practice.
(1198-1216)

'Vieux-romain',

O n the other

h a n d , the pontifical c o m p i l e d for

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,

102-4).

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

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

services i n the L a t e r a n basilica (the pope a n d his chaplains celebrated i n the adjacent
chapel

of St

Lawrence).

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

Lateran

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

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.

r e v i s i o n of t h e b r e v i a r y f o r

T h e y adopted a revised missal

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

I V ( 1 2 4 3 - 5 4 ) ( e d . v a n D i j k 1963,

Sources).

at t h e r e q u e s t

of

F r o m this point papal and

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
appear

to h a v e c o m e

Cajetan

into line somewhat

Orsini devised a compromise

g r a d u a l l y . I n the

l i t u r g y to c o m b i n e

1250s C a r d i n a l J o h n

the

use of t h e

Vatican

( 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

(1277

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 ,

1960).

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;

and A^Giii.

269

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
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,

i i . 3 5 9 ; see a l s o i .

110),

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,

to

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 ' )

showed

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

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 ,

Roman-Franciscan

t h e o r d e r of

Benedictine

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

investigated

b y the

m o n k s of S o l e s m e s .

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

f o l l o w the

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

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 ,

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

Danube,

whence

to

the

Roman-Franciscan

Austrian and south G e r m a n

use

in a revised monastic

f o r m spread

other

monasteries.

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

1971,

Tonaires,

t r e a t i s e Practica

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

A l u r e d u s or A m e r u s ) , i n the entourage

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

The
(or

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

Salomon'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

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

Roman-

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

France,

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

corresponding

more

or

less

to

the

Charlemagne's

empire a n d generally

Aquitaine,

Gascony,

and

k n o w n for convenience

valley,

Septimania

of

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

large

among

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

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 .

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
more

possibly for other

churches

in Limoges,

w h i l e the m a j o r i t y

are n o t f r o m

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

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 ,

century.

(A

possible

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

sources to c.1200

Manuscript

Type

A l b i 44

gradual-antiphoner

Paris 1240
P a n s 1084

troper ( p o s t )
troper (p s t)
troper (p s t)
antiphoner

Paris
Paris
Pans
Paris

1118
1085
1120
1121

Provenance

Date

Saint-Martial

c.930
late 10th c.
late 10th c.
late 10th c.

9th c , second half

?

Auch ?
Saint-Martial
Saint-Martial ?

P a r i s 909
P a n s 1119

troper (p o s f)
troper (p s f t)
troper (p o s)
sequentiary (s)
troper (p s f t)
troper (p s)

P a n s 1137
P a n s 903
P a n s 1133

sequentiary (o s f)
gradual (p o s f)
sequentiary (o s f)

Limoges
Saint-Yrieix

P a n s 1135
P a n s 1136
L o n d o n 4951

sequentiary (o s f)

Limoges
Limoges
Toulouse
G a i l l a c near A l b i

P a n s 887
P a n s 1138-1338

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

Saint-Martial
Limoges
Saint-Martial
Saint-Martial

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)

s f)

Limoges

Saint-Martial
Saint-Martial
Limoges?
p
p
Narbonne
p
p
p

s)
s)

Narbonne
Saint-Leonard, Noblat

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 = 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:

tracts,

special

(For

offices,

and

so

on.

alleluias, g r a d u a l verses,
summaries

of

the

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;

processional

contents

Graduel

of

most

chants,
of

these

I I ; R I S M B/V/

romain

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

at b i n d i n g m o r e t h a n f o r a n y

musical

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

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

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

of

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
903 (see

VIII.6).

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

degree.

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
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

against

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

f o u n d m a n y instances

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

17.

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

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,

'Observations';

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,

C r o c k e r 1957,

are

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 . )

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

by

between

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 .

The

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

1020s a m o v e m e n t w a s set a f o o t ,

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 ,
1031

the

Council

of

Limoges

whose

chief

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

apostolicity authentic,

although

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

In
the
to

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
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

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

Ex. IX.10.1.

Responsory O sancte Dei apostole (Paris, B i b l . N a t . lat. 909, fo. 68 )

r

sancte

Mar - ti - a-

i * n f

W
#

pas

- tor

et

De - i

-lis

m*>*#

pro-to - dux
A#

I
Rep.

et

prae-

in-ter-ce

-ces

de pro sa - lu - te

-to-le

princeps e - g r e - g i - e

=r

ff

***v
*
**
-qui - ta - no - rum

*
au-di

a - pos-

# * *i

seruu-lo-

om-

-ni-um

po-pu-lo

rum

( E x . I X . 10.1 cont.)

5&
VI-

Ad-

- n u n - c i - a s - ti

et

V2.

facta

e - ius

%V

in-tel-le-

o-pe-ra do -

mi-ni

-xis - ti.

Prae-

Etin-ter...

-fulgens glo-ri - o-sus

in conspectu do-

-mi-ni

KHZ
tu - o-rum susci-pe

Gl-

preces s e r - u u - l o -

Glo-

-ri-a

et nunc et

Om-

M2

Om-

Et

patri et fi - li - o

et spi-ri

p*n
' '

'11*

Et

g 4^.
^
*'

in-ter...

- tu-i sancto

per e - on.

'

Ml

'

-rum.

**

in-ter...

'* '

'

-ni-um

(populorum)

-ni-um
(populorum)

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

T a b i c I X . 10.2. Post-Pentecost

alleluia

Peninsula
series in Limoges

L i m o g e s cathedral

Saint-Martial
before 1062

Cluniac Saint-Martial

Paris 9438

Paris 1137

Paris 909*

P a n s 1132

P a n s 1134

7: 12

7: 12

7: 12

7: 12

7: 12

17
20

17
20

20

17
20

17
20

30
46
64

30
46
64

46

30
46
64

30
46
64

77
80
87
89
92

77
80
87
89

77
80
87
89

77
80
87
89

77
80
87
89

94: 1
94: 3

94: 1
94: 3

94: 1
94: 3
97

94: 1
94: 3

94: 1
94: 3

104
107

99
104
107

104
107

104
107

104
107

70

110

110
113: 1

112
113: 1

113B: 11

1 1 3 B : 11

1 1 3 B : 11

117
121

117
121

129
137: 1

129
137: 1
145

146

146

147: 14

147: 14

113: 1
113B: 11
116: 1

1 1 3 B : 11
116: 1

124
129
137: 1
145

129
137: 1
145

129
137: 1
145

146
147: 12
147: 14

146
147: 12
147: 14

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.

10.2:

T h e alleluias are designated by the psalm from which their verse is taken. Where other
verses
7: 12
17
20
30
46
64
70
77
80
87
89
92
94:
94:
97
99

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

113:

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

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

X I . 11.

T H E H I S P A N I C

137:

145
146
147:

12

Confitebor tibi
Lauda anima mea dominum
Q u i sanat
Lauda Iherusalem d o m i n u m

147:

14

Qui posuit

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,

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

1990.

Whatever

the

importance

of the

C l u n i a c m o n k s i n the 'reconquest'

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

(see

of S p a i n

for

V I 1 1 . 7 ) , little tangible

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

f a i l u r e of the

Quern

and Easter

queritis

dramatic

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

of n o r t h

c h . 6).
Spain

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
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 ,

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

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

all
San

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
twelfth century),

Toledo,

A r c h i v o C a p i t u l a r 35.

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

10 ( g r a d u a l , T o l e d o ,
5-6)

thirteenth

f o u n d the C l u n i a c order i n

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

eleventh-century

Silos

30850

manuscripts

London,

British

Library,

A d d . 30848

and

(facs.

in

Antiphonale

text e d . b y H e s b e r t

Silense,

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

is C a r t h u s i a n ;

the

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

processional

Vich

Institut

117

and compared

it w i t h

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,

Burgos,

Gerona,

its s i s t e r

manuscript

in Erlangen,

fur

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

and

Tortosa,

with

ordinary-of-mass

chants

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

responsory

century,

may

be

singled out

b e c a u s e of

its l a r g e

provision

prosulas, more n u m e r o u s than i n any other k n o w n source

of

(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)

has s u r v e y e d

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,

1 9 8 5 . ) It is s a i d

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

by a joint

Portuguese-

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

1).

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

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,

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.

Saint
Extant

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

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,

t h e e x p e c t e d i n f l u e n c e of

easily visible i n the n o t a t i o n , w i t h other

French

traditions,

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

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

the

Roman

rite

of c h a n t r e s e a r c h

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)

and

its

i n these

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

medieval,

and

Iceland

archdioceses
not

of

medieval

Scandinavia

coincided geographically

modern political divisions. Nidaros ( T r o n d h e i m )

covered

an

with
area

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

i n N o r w a y o w e d m u c h to E n g l a n d .

Liturgical

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
century.

A t the

Reformation

liturgical books

were systematically

destroyed

and

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,

G j e r l 0 w 1961,

and influences were

Decreta

a n d the

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

G e r m a n commentators

Augsburg (Gjerl0w

B e r n o l d of C o n s t a n c e

sources

Lanfranc's

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

to

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
the

sources

of

the

Nidaros antiphoner

(1979)

weighs

the

evidence

of

all

the

fragmentary

remains,

then the choice

of c h a n t s ,

a n d shows once again a strong

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
German

ones.

(Breviarium

The

N i d a r o s breviary

Nidrosiense).

of

1519

has b e e n

published in

facsimile

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,

none

1959).

with musical notation (Haapanen

1922-32,

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

o f w h i c h are g r a d u a l s

or antiphoners

(Abrahamsen

1923,

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

to

(Stromberg

Lund,

interacting

with

the

widespread

Roman-German

been

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

German

(Missale

uses.

The Lund

m i s s a l of 1514 h a s b e e n

published i n facsimile

Lundense).

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

sequences for Sweden's

Helander

(1957).

by T o n i

Schmid

(Graduate

(c.1513)
with

Arosiense),

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

K r o o n (1953) s t u d i e d S w e d i s h repertories

of

ordinary-of-mass

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

Haapanen (1922-32,

(ii)

w h i c h survive i n F i n l a n d have

been

surveyed

by

1924).

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

religijna

Polsce:

Materialy

Most

i studio).

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

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

1931; Nejedly 1904/rev. 1 9 5 4 - 6 ; S c h o e n b a u m

(Bohemia)

and Olomouc

(Moravia)

had

1960;

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

manuscripts

latter

from

being

'up-to-date'

Czechoslovakian

north

libraries

French

were

(Spunar

compositions.

filmed

by

Stablein

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 ,
Schildbach,

and Hofmann-Brandt.

T h e link

with

south

German

and

and Austrian

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
i n large

numbers

in Bohemia

and Moravia (Orel

thus

Thannabaur,

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

written

1957),

Numerous

chants

centuries
w e r e also

1922). T h e offices

of

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.

The

Hungarian

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 ) .

de

ecclesiasticis

officiis

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
first

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

H u n g a r i a n r u l e i n 1094

( 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

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

Alba

Regia),

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 {Codex

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

(Stuhlweissenburg,
as h a s a n

Albensis),
notatum

early

Strigoniense).

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

exceptional

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

d o m i n a n t type was that

1988,

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

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

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
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

D o b s z a y and Proszeky 1988).

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

dominant

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,

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,

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

by G y u g

1990).

Reformations of Gregorian C h a n t
X . l .
Fellerer, ' C h o r a l r e f o r m ' ,

I N T R O D U C T I O N

MGG.

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 ,

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
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 ,

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

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 ,

for

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;

see S t u a r t

1979).

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

orders,

although

these

do

not

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 .

encompass

major

musical

of

other

departures

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 ,

f o u n d e d i n 1098
brethren,

who

b y the
wished

Benedictine
to

recover

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

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

' 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

musical practice

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

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 ,

at

state

often interpreted i n a very literal w a y .

It

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

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

thirteenth-century

Metz

m a y well represent

antiphoners

Metz,

the t r a d i t i o n w h i c h

the

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,

Choisselet and Vernet

Bibliotheque

M u n i c i p a l e 114

(facs.

Hiischen

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 ,

MGG,

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

century.

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,

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

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 .

Chants

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

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
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

described

i n a short

prologue 'Bernardus

m a i n idea b e h i n d t h e m

h u m i l i s abbas

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,
24.

21-2). The

to t h e c h a n t - b o o k s ,

by

1122-3, C S M

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

r e g a r d e d as a p r e f a c e

are

Clarevallis' written

beginning ' C a n t u m quern

tract,

Cisterciensis

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.

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

ii.

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

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 .

H i s treatise,

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 ,

1132

beginning

first

abbot

of

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

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 .

The

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'

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

notation

was only

one

of

several

varieties

involved i n the

new

developments i n south G e r m a n y and Austria.

On

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

f o u n d e d by St D o m i n i c , was formally constituted

Preachers),

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

master

copy

Humberti',

of

the

entire

liturgy and

its m u s i c

still

exists,

the

'Correctorium

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).

at

Santa

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

domine

fer

opem

nobis

E x . X . 3 . 1 . F r o m g r a d u a l Exurge

V . Deus

auribus

nostris

( d i s c u s s e d also b y

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

Domine

(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

Piacenza

E -xur

- ge

do-

Leningrad

Cistercian-Domini can
>T}
.
M M .

_^
UU.

.*

' i

MM

i*i

3 q

Piacenza

.. in

di - e-

-bus

an-

-ti-

-quis.

Leningrad

Cistercian-Dominican

'
... et

in

di - e-

-bus

99

an-

Bomm

-ti-

-quis.

1949)

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

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

ways

of

Dominicans,

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

differences

between

notated versions concern the relationship between

the

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
o r D.

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:

c o r bb

cadence:

E or D

reciting note:

c or c . . . d or b b . . . c

cadence:

E or D

this knot the

. . .

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

cthe

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

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

o r D.

Ex. X.3.1

g i v e s the b e g i n n i n g of

the

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
the C i s t e r c i a n / D o m i n i c a n one.

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

H i i s c h e n , ' K a r t a u s e r ' , MGG\

'Livres'.

L a m b r e s 1970,

1973;

Becker 1971,

1975;

Huglo

1977,

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.

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

Valence,

chants

agree m o s t

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 .

often

with

those

Early Carthusian books

of

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

H i i s c h e n , ' A u g u s t i n e r ' , MGG

Tramonstratenser', MGG\

1967,

L e f e v r e 1933, etc.;

Weyns

1973.

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

and offered more general c o m m e n t

specified a n u m b e r

of

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

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

used the l i t u r g y of w h a t e v e r diocese

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

Premonstratensians,

at

Bristol

in

England).

The

most

influential were

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

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 .
The

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

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

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

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

manuscripts from

gradual from Premontre

the

(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

E u r o p e a n ' b l o c ' . It is

congregation

after their

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

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

1312,

but the melodies were not p r e s c r i b e d . Office sources have been surveyed by

Boyce

( 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
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

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 ;
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

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

X.5.

T H E ' M E D ICE A N ' G R A D U A L

Molitor 1901-2; Weinmann

The

threat

to the

1412.

(1614-15)

1919.

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.

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

that

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 .
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

1577

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

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
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

g r a d u a l , the

most

important

of w h i c h w a s

the Directorium

chori

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 ,

and

responses,

and

short

responsories.

An

important

innovation in

of

1582,

versicles,
Guidetti's

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 :

Directorium

1 2

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
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 .
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

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

to the p a p a l c h a p e l . )

T h e corner-stones

of

the

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

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
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

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

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

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

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

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

altogether.

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

6 5 ; Graduate,

Rome,

(Piacenza, B i b l . C a p .

1898)

Piacenza
9*

Om-

-nes de Sab - ba

u e - n i - ent

au - rum et tus d e -

Pustet
" V

i*9

Om-

-nes

de

Sa-

-ba

rm m

ve - ni - ent,

au - rum

et thus d e -

Piacenza
33C
- f e - ren - tes

et

laudem do-mino

an - nun - ti - an - tes.

Pustet

- f e - ren-

-tes,

et laudem D6mi-no

an-nun-

-ti-an

tes.

Piacenza
2
Sur - g e

et

il - l u - mi - n a -

Pustet

V.

Sur - ge,

et il - lu - mi - na-

-re

Piacenza
r

9*

99

H i e - r u - sa - lem

qui - a

glo- - r i - a

qui-a

glo -

*9 9*9

do-

Pustet

Je - r u -

-sa-lem:
-9

*W

ri - a

Do -

Piacenza
>999

su - per te

or - ta

est.

Pustet
99

su-per

{*-

te

(9*9*

or

ta est.

&

mi-ni

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

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

venient

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

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

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

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 .

X.6.

N E O - G A L L I C A N

C H A N T

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

[Hiley], 'Neo-Gallican

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

t h e Antiphonariurn

of 1606 a n d 1611 a n d t h e Antiphonariurn

of 1603. A n o t h e r is

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

of M e c h e l e n

( 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

supporting

freedom

in France,

where a strong school of thought

f r o m papal authority h a d existed

ever

since

the thirteenth

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

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
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

radical revisions than those for mass.

Particularly

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
1954). T h e
Francois

Pocknee

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

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

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 .

de
The

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

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

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

sections

shifted

to

make

more

obvious

tonal

sense

(from

the

Baroque

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
Paris

of

de

1754.

E x . X . 6 . 1 . Extracts f r o m Graduel

de Pans,

1754 (pp. 110,

112)

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)

Ad
Jesum ac
Stel - la fo - ris

- cu-ri-te,
prae-di-cat,

, i

1 ^'

J
Hue af - fer-re
mu-ne-ra
Haec e-rit
gra - t i s - s i - ma

3s

Corda ves-tra
In-tusfi-des

sub-di-te
in-di-cat

Hii

1J

1
J

'J* 1
ttz

Volun-ta - te
Sal-va-to - ri

li-be-ra,
vic-ti-ma,

Re-gi no - vo
Redemptorem

jHi
1

Genti-um.
om-ni-um.

" 1

J
Sed mune-ra
cor-di-um.
Mentis sa-cri - fi - c i - u m .
J

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 u - d a e - a , gau - den - ti-bus

Post c u s - t o - d e s
o - vi-um,

Non in-vi - de
Gen-ti-bus
Se Ma-gi fi - de - li-um

Re-tectum m y s - t e - r i - u m .
Jungunt in con - sor - t i - u m .

J I J J J .)

620

A ' . Reformations

of Gregorian

Chant

(Ex.X.6.1 com.)

Qui Ju-dae - os
Beth-le-em fit

ad-vocat
ho-di-e

Regnet Christus

OFFERTOIRE.

cor-dibus,

et

et

Sa - ba

Re-ges

In unum tu - gu - ri-um.
Nascentis ex - or - di-um.

re - b e l - l i - b u s

Profe - rat im - pe - ri-um

Du 8. (Ton)

Re-ges Tharsis

Et victis

J J.

Christus, Gentes convo-cat

To-ti-us Ec-cle-si-ae

do

ter - rae:

in-

-su-lae

na a d - d u

omnes

gen-

mu-

-ne-ra

cent;

et

-tes

of-

-ferent:

Reges A - ra-bum

a - do - ra - bunt e - um

ser - vi - ent

om - nes

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

plainchant

musical,

plainchant. These

a n d ( i i ) chant

( 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),

sur le livre

were
or

(i) chant
fleuretis.

figure

or

I n t h e first

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

eglises de VEmpire

francais.

de retablir

le chant de VEglise

de Rome dans toutes

les

( 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',

MGG).

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
secrets

of medieval

sources

h a d already

been

developed,

particularly

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

b y the

seventeenth

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
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

notations,

but the

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.

7.
The

The

Return

to the

623

Source

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

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

(see

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

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

1846

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
M e d e c i n e H . 159,
Lambillotte

w i t h alphabetic

letters a n d neumes

published a hand-drawn facsimile

unfortunately not accurately

of

St

in parallel. In
Gall,

1851

Louis

Stiftsbibliothek

359,

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 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 ) .
L a m b i l l o t t e ' s Graduate

a n d a n Antiphonarium

Romanum

w e r e p u b l i s h e d i n 1855 i n

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

Reims-

chants.

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

played by Michael Hermesdorff (1833-85). 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

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

j o u r n a l Cacilia

( f o u n d e d i n 1862,

l a t e r t h e Kirchenmusikalisches

was
the

edited the

Jahrbuch),

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

( 1 8 6 9 ) , a n d a s e c o n d Graduate

ad

normam

He

(1863), an
cantus

S.

( 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

m o d e r n stave,

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

homo.

but

r e p r o d u c e d the note-shapes

of a l l t h e

nineteenth-century

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

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
had this status.

XI.2.

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

Rousseau 1945; C o m b e 1969; Bescond

The

Benedictine

monastery

E D I T I O N

1972.

of S a i n t - P i e r r e de S o l e s m e s

dates b a c k t o t h e

early

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

liturgiques

(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 ,

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
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

first

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
P o t h i e r . I n 1864 a Directorium

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

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

had been published in

gradualis
1873.

of 1 8 8 3 .

Melodies

Meanwhile a lithographed

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)

(fo

mft

Ex-

-ur-

*i

do-mi-ne

-ge

non p r e - u a -

-le-

hoPustet

Ex-sur - ge D o - m i - n e ,

non praeva - l e - a t

ho-mo

Reims-Cambrai

E - xur - ge,

Do

mi-ne.

-le-at

non praeva-

ho-

f V#
1
B

Ex-ur-

-ge

Do-

-mi-ne,

non prae-va-

-le-at

f V ' V fNi

ho-

Hermesdorff 1

5E
4

E - xurge,

Do-

. . . .i

..''

-mi-ne,

non pre-va-

-le-

-at

ho-

Hermesdorff 11

-xur - ge,

ho-

Do-

-mi-ne,

non p r e - v a -

-le-

-at

-at

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

whose indisputable evidence should

musicale,

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

versions

d e s c r i b e d t h e Iustus
struggle

against

invulnerable,

of t h e s a m e

congress

ut palma

the Pustet

capable

piece,

on Gregorian

the gradual

chant

Iustus

in N e w York

A t the

ut palma.
i n 1920

Mocquereau

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 ,

d'enfoncer

tous

les r a i s o n n e m e n t s

ennemis'.

puissant,

(Mocquereau

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 .

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

gradualis

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

cattolica

i n R o m e , was w o n round

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

under

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
Pustet edition was w i t h d r a w n by L e o X I I I

i n 1899, a n d w h e n Pustet's

monopoly

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
acted

q u i c k l y to sanction

the restored

chant.

T h e famous

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 )

motu

proprio

' T r a le

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

been

i n 1904 t o m a r k t h e

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

were

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 ,

mostly

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,

the

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

was

Variae

preces,

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,

antiphonarius

w a s i s s u e d i n 1893 as a

a n d i n 1895 t h e r e a p p e a r e d a Liber

responsorialis.

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

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

Gradualis

usualis.

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

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

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 .

Pothier

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
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.

1893

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

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

executive

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 ,

were

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

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 ,

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

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

Solesmes

proposals. T h e beginnings run thus:

Solesmes:

Gab

ab

K y - ri-e
Commission:

Gac

Solesmes:

cbbG
e-

accbG

K y - ri-e

Commission:

aG

ab aG

a i n ex-cel-sis

G G ab b*

aG

Glo-ri* =

G G ab b*

Glo-ri-

de-o

abcb aG

a i n ex-cel-sis

de-o

liquescent

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

gradualis,

Antiphonale

Romanum

Solesmes d i d not take f u r t h e r

of 1908 w a s i n e f f e c t a n e w e d i t i o n

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
Romanum

followed in

1912,

based

on

usualis

Pothier's

of
Liber

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.

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

S t a b l e i n , ' G r e g o r i a n i k ' , MGG;

R E S E A R C H

H u c k e 1988, ' C h o r a l f o r s c h u n g ' .

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

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

identified, a n d proposed a comparative edition where the divergent readings w o u l d be

recorded

(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

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

Vatican Council

necessitated

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 ,

monasticum

( 1 9 8 1 ) a n d t h e Liber

hymnarius

(1962-5)

of w h i c h t h e

have

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

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,

the practical a n d the abstract

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

finding

have

been

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

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

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

Alleluia In te Domine speravi

Alleluia Levita Laurentius 5

529

Alleluia Suptie facte sunt in ('hana

Alleluia O kynos 4 3 0 - 1 , 5 2 9

134-5

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

Oty theos 529

Paratum cormeum
538
Pascha nostrum 375-7, 379-80, 586
Quoniam Deus magnus 529
Surrexit Dominus et occurrens 134

Alleluia
Alleluia

\ 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

104-7

jbnen amen dico vobis, antiphon 464

Angeli eorum, antiphon 234
'Angelica', sequence melody 586
Angelis suis, gradual 533-4, 554
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

486

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

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,

Credo Vatican IV ('Credo cardinalis') 171

Credo Vatican V 169
Credo Vatican VI 169
Credo Vatican VII 171
Crucem tuam adoremus, antiphon 37, 527

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

Cum audisset populus, processional antiphon 34, 102,

Caeli caelorum laudate Deum, antiphon

Candida concio, sequence 587
'Caput', melisma 36
Caritas Dei, introit 115

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
553-4, 555
Cum ergo, antiphon 327
Cum natus esset Dominus, processional hymn 146
Cum penrenisset beatus Andreas, antiphon 97-8

453

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

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

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

248

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

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

Expandi manus, responsory 337

Exsultabunt sancti, gradual 79, 358
Exsurge Domine feropem, gradual 612

207

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

550

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

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

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

Vatican II)

155, 211-12

Kvrie
VI)
Kvrie
Kyrie
Kyrie
Kyrie

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

Kvrie
Kyrie
Kvrie
434
Kvrie
Kvrie

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

Kvrie 142
K v r i e 144

155
152,

Kyrie
Kvrie
Kyrie
Kyrie
Kyrie
Kyrie

155

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

Omnes tua gratia, Hosanna prosula 225, 230-1

Omni tempore, antiphon 329
Omnipotent tern semper adorant, canticle 23
Oportet devota inetite, responsory prosula 206

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

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

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,

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

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

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

101

270

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

Ouando natus est, antiphon

529

327

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

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

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

Unxerunt Salomonem Sadoch sacerdos, antiphon 44

Urbs beata Ierusalem, hymn 234
Ut queant taxis, didactic hymn 467

Zachee festinans descende, antiphon 45

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

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,

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

'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,

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 ,

105-6,303,305-7,

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, 315-

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,

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

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

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

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,

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,

597
Paris, Bibliotheque
Paris, Bibliotheque
Paris, Bibliotheque
Paris, Bibliotheque
Luxeuil') 552
Paris, Bibliotheque
Paris, Bibliotheque
Paris, Bibliotheque

Nationale,
Nationale,
Nationale,
Nationale,

lat. 3719
lat. 7193
lat. 7202
lat. 9427

41, 248, 597

292
394
('Lectionary of

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

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

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

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

Saint-Die, Bibliotheque
St G a l l , Stiftsbibliothek
383, 572, 626
St G a l l , Stiftsbibliothek
St G a l l , Stiftsbibliothek

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

St
St
St
St
St

Municipale 42 326
339 295, 301, 347, 373, 375-6,
349 505
359 295-6, 299, 347, 358-63,

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

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

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

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

11-12; Invention of the

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
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

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

Eddi (Stephen) 507

Edgar, king of England 564, 581

Expositio latins tnissae (Amalarius of Metz)

Exultet 38, 49, 5 1 - 2 , 315, 319, 554

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

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

5-6

Falconer, K . 223
Fallows, D . 239
Falvy, Z . 273,607
Farmer, D . H . 7
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

Hilkiah, high priest of Israel 520

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

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

1 lelisachar, abbot of Saint-Riquicr and Saint-Aubin at

Angers 517, 569
Heloise 611
Henderson, I. 392
Henderson, W . 317, 319

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

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

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 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

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,

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

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)

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

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

186, 572

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

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

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

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

Oxyrhynchus hymn 487

Piacenza 252-3, 323, 586, 595

Picone, C . 360

Padua, monastery of Santa Giustina 595

Palermo 201,328
Palestrina, G . P. da 615-16, 626
Pahsca, C . V . 442,476

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

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

passionary 288, 308, 313

Passiontide 75, 92, 144

448

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

Podlaha, A . P . - A . 606
Poisson, L . 620
Poitiers 144
Poland 149, 171
Polheim, K . 285-6

psalmellus (Milanese) 495, 500-3, 541-2, 547

Psalmi Familiares 19-20
psalmo (Old Spanish) 495, 500-3

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

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

610

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

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

rondeau 247-8
Ronnau, K . 149, 199-200, 2 2 3 - 4 , 4 5 2
rotta 199,572

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

Rogation Davs, Rogation Sunday

290
Rojo, C . 169, 557

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

571

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

591

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

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

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
580

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,

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

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

T h i e r r y , abbot of Jumieges 579

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

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

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 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

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

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

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

Underwood, P. 308, 338, 580

Undhagen, C . - G . 605
Uppsala 604

Volturno, abbey of San Vinccnzo 589

U r b a n I V , pope 25
Utrecht 328

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

Vosyka, V . 250

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

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

Vatican C o u n c i l , Second (1962-5) 628

Vccchi, G . 100, 150, 172, 196, 204, 209, 266, 313, 352,
417

Weakland, R. 197, 199, 274, 448, 452, 540

Wcingarten 564
Wcinmann, K . 615

Velimirovic, M . 454, 482

Weinrich, L . 241
Weisbein, N . 192

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

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

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

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
387,

Zagreb 607
Zoilo, A . 615-16
Zwiefaltcn 578

^
. nsburg }