-----·....

3 GREGORIAN CHA.VT 1ÍASS • Mass for.Christmas Day (9

8 } 3 GREGORIAN CHANT MASS • Mass !oc Chri•tma• Day '------
lf-----'
(a) Introit: Puer na tus est no bis
were all composed after the system of eight mqdes was established in the ninth
and tenth centuries, andas a result each coníorms closelyto its mode, signaling
it unamhiguously in virtually every phrase (unlike the Credo, which is apparently Jntr.
7.
1~!\\ \1 O,OOf1•32j
~ ~
j i
1• a"i
• ••• ... .~
~
·= . .-::¡
mucholder).
•P U-er • ná- tus est nó- bis, et ff- Ji- us dá- tus est

• ¡ "" .. • • r-1'- r- ... a.~~ ., 1

begins and ends. A wavy line used in sorne cú-jus impé- ri- u m super h(¡. me-rum · é-
The offidal Vatjcan editions of Gregorian
ascending figures, called a quilisma (""'), may
chant, prepared by monks at the Benedictine
Abbey of Solesmes, use a modernized chant
notation based on late medieval forms. The
have signified an ornament; in Solésmes per-
forming style, it is sung normally, but the
preceding no.te is slightly !engthened. The
G ~·.. ~ • ti • ••• • ••• .a.,., r.: ~ •
J•l
staff has four lines rather than five but follows

..
symbol (J) at the end of each staff is a custos jus : et vocá- bi-tur nómen é- jus, mágni consl-
the familiar principie of altemating lines and
(guard), a guideto lead the readerto the first
spaces for the steps of the sea! e. A def des- ~
ignates one line as either middle e CC) or note on the following line.
The Solesmes ·editors added interpretive l'i : • • • •
the Fa nkh below it ("); these defs !ocate
the half-steps E-F and 8-C, important for
signs, which do not necessarily reflect how frJ o"á •· 11 •
the chants were sung in the Middle Ages. A
the medieval singer. These are not absolute li- Ange- lus. Ps. Can-tá-te Dómino cántkum nó- -
dot after a note doubles its value. A horizon-
but relative pitches; singers may perform the
chants in any comfortable range ( although in
tal fine abo ve a note indicates a slight length-
ening. Vertical barlines delineate sections
•••= • 1 • • •• ••
~:
the accompanying recording, most chants
are performed at vnitten pitch). F!at signs are
(double barHne). penods (fui! barline). 11
phrases (half barline), and sma!ler units
valid on!y until a new word begins or a verti-
(quarter barline through the top staff line) vum : • qui- a mi-rabi- Ji- a fé- cit. Gló- ri- a Pátri.
cal division fine appears. ,
that may be marked by pauses of various
The notes are indicated by neumes, v.+lich
G•
-J • •••
may contain ene or more notes. The basic
note shape is square (•) rather than round,
lengths. In Solesmes .performing styfe, notes
are freely grouped in twos and threes '
1
,..: 11
(though other approaches are not_so rigid);
reflecting the flat quil!s of medieval copyists.
the editors added Vertical strokes below
E u o u a e.
Notes are assumed to have equal durations,
sorne notes to suggest where such groups
with exceptions as spedfied below. Notes The Doxology is not written out in chant hooks, but is performed as follows:
are read from left to right as in standard no- shou!d begin.
Performances are also guided by symbols [§]
1 tation, except when two notes are stacked
!¡ vertically (~),in which case the lower note is
inserted among the words. Most chants are
7. C1'il• • • • • • •• 1 11 • a ••. m

G Ló-• ri· a: Pátri; et

begun by the choir leader, the cantor, andan
sung first Successive notes on the same
asterisk (•) shows where the cantor is joined
,¡ pitch and syllable are sung as though tied or
slightly pu!sed. Diamond-shaped notes (+)
by the rest of the choir. Asterisks are also
Ff-li~ o, et Spi-rl-tu~ i Sáncto. *
,¡ are used in descending patterns to save
used to show other changes of performer-
for examp!e, bet•ueen two hafves of the choit
space but have the same duration as square -
The signs ij and iij (the reman numerals 2 •• • • •••• 1 • •
t notes. Small notes. called liquescent neumes_
CJ). signify dosing the mouth or tengue on a
voiced consonant such as ..n or ..m" at the
p
and 3), found in the Kyrie and Alleluia, indi-
cate thatthe preceding material is to be sung
twíce or three times. Often these repetitions Sic-ut é-rat in princl-pi- o, et nunc, et semper, . et in
= j

end of a syllable. A diagonal stroke of the

1 pen, found in obfique neumes N). indkates
are performed by a different group of sing-
two notes-the pitches on which the stroke ers, as in the Kyrie. G• • • • ) ' • .... ,..: 11
1
·saécu-la saecu-ló-rum. A-men.
 16 ) 3 GREGORI.AliCHANTMASS • MassforehristmasDay
~-· ~-- D ay
3 GREGORIAN CHANT MASS • Mass .1,'or '-'Lll1Su.Lw."

This Gradual exempliñes responsorial·psalmody, in which a soloist singing the

psalm verse alternates with a choir performing the respond. The texts are drawn
~--- ~~~~~~~~
_,fl'"fl'rt==~·+t?~-· • • • • "M • M
ve- ní-te géntes, et adorá-te Dómi-
from the same psalm featured in the Introit, continuing the mood of joy ·and
celebration. But the speciñc passages chosen from this psalm (verse 2 forthe psalm
verse and parts ofverses 3 and 4- for the respond) emphasize the idea of salvation
;g •. 1_, ·' ('i¡o,& ~-.. rh 1 •
made known to all peoples of the earth. Although the psalm was origínally a Jewish •

ª
hymn of praise to the God of Israel, in the liturgical contert of the Christmas Mass, num : qui- a hó-di- descéndit lux
jusi after the Epistle, these verses were understood to speak of the coming ofJesus
Christ and salvation through him, continuing the theological message of the Mass.
Unlike the Introit's psalm verse, which followed a recitational formula, this
verse is extremely ornate, as was characteristic of chants featuring sol9ists from
the choir, anq. the respond is also highly melismatic. Indeed, the Gradual and the
- ....
gna * su-per tér- ram.
~,·:. •
Alleluia, which immediately follow it in most seasons of the church year, are the
most elahorate chants of the Gregorian Mass, and together they form the Mass's Alleluia. Alleluia.
musical high point. From the beginning, they were -fue only two chants of 1he Y!. Dies sancti:ñcatus illuxit Alleluia. Alleluia.
Proper that were sungwhen no ritual action was ta.king place, and the words and nobis: venite gentes, et adorate '/l. Asanctiñed day hath shone u pon
the music were the single focus of attention. . · Dominum: quia hodie descendit lux us; come ye peoples, and adore the
The melody ofthis Gradual is clearly in mode 5, with cadences on the fmal F at magna super terram. Lord; forthis day a great light hath
the end ofbothrespond and verse, a range that extends an octave abo ve the únaland descended upon the earth.
one step below, manyphrases that center on the recitingtone e, and phrase-end-
ings on e andonA (both common in thls mode). The note Bis often flatted in this
mode to avoid the tritone with F. Several flat signs appear in the music; they are
valid only until the end of the word. More often, the B is not fl.atted, creating so me
variation in the location ofthe half step (A-Bb or G-B), which is typical ofmode
5. The frequent oscillations betweenAand C in the melody, which skip over B and Duringmostoftheyear theAU ¡ · th
thus withhold the location ofthe half step, seem to play on this. amhiguity. Gradual. h in the Grad~al a so~ ~·~o er responsorial chant, comes after the
In performance, the soloist (usually the cantor, sometimes another singer or "Alleluia" (from the Hebre~ Ha u::~ ·a~n!: the_ ver~e, ~d the cho~ responds with
two singers) sings the opening phrase and is joined by the ch.oir at the asterisk Here the verse is not from a psalm.J b 't eamng praise Yahweh, or Jehovah").
Then the soloist sings most of theverse, and the choir joins in again at th.e asterisk. illlau~-rofJesus' birth as a da wh ' .. u was ~reated for the Christmas Mass. Its
In the Middle Ages, the respond was then repeated by the entire ehoir (for anABA ticipates the references to lig~ in~:: grll ea~ lighGot deslcende_d upon the earth" an-
Th ¡ · · 0 owmg spe reading
form), hutin modempractice that repetition is often omitted. e so otst smgs the ftrst phrase of "All 1 . " th . .
this (as shown by the repeat mark .. ) de wa_ to e ~stensk. The choir repeats
(e) Alleluia: Dies sanctificatu. the ju.bilus, an ecstatic esture of '1· an ~ontinues With the following melisma,
bythe choirforthelast~ords (m;:r::ss )Oy. ~e ~)olo~st sings the verse, joined
again without the repetition crea~ y an as~nlM Finally, the respond is sung
j the soloist often sangthe "Alieluia., an~ov~ . . . ' form. In the Middle_Ages,
2.
.e • • ~ 1'=1\r.. 1 • .r-
~ccompanying recording. , e e orr JOIDed atthe melisma, as on the

H Lle-lú-ia. * ·y.
.. y¡. Dí- •
The Alleluia for Christmas Day is one of th 0 ld
the en tire melodv for "Alleluia"
'J
th l e d est. Many later Alleluias repeat
on e astwor ofthe H ·

••• ... =.,~,•.·!§~:¡\~ b

• 1s a varied repetition of the fust hr f h :e~se. ere mstead there

•• 1 ••
nobis") in the thir~rphrase (" . 1 ~sedo t e verse ( Dtes sanctiñcatus illuxit
J mode 2, the plagal mode on Dcr:~ e ~s;_ndit lux magna"). The melodyis in
0

Mostphrases end on the ñnai 'oth mov~m e normal octave range fromA toA.
es sancti- ficátus illúxit nó- bis : on the recitingtone F. Comp:re ~~c~:nt:on;:e ~el~w, and seVera! phrases linger
düferent are the plagal and authenti' d ethyne, a mode 1 chant, to seehow
cmo eson esame.fmalofD.

1
 3 ÜREGORIAN CHANT 1{Ass • Mass for Christmas Day
20 3 GREGORIAN cHANT MASS • Mass Íor Christmas Day

the chant, singing "Credo in unum Deum" (I believe in one God) hefore the choir

• • •• • • • • •• •• • sings the rest of the melody.

Like Gloria melodies, Credo melodies have no standard pattern of repetition
'
exspécto resurrecti- ónem mortu-6-rum. Et v(-tam ventú- ~ut they do f~ature a few motives that are repeated and varied to ñt the chang~
mg acc~~tuati~ns of_ the text. Note for example the motive on "Patrem omnipo-
•
•,lít···¡¡~~
ten~em, used m vanou~ forms more than a dozen times and often Preceded by a
11 vanant of the ñgure on Credo in unum Deum." Although the melody ends on E
• - u ., " · =: and therefore is classed as mode 4, almost all the phrases close on G, and Bb is an
ri saé-cu-li. A- men. unexpectedly common tone (compare two other chants in mode 4, the Gloria in
NAWM 3c and Offertory in NAWM 3g, in which B~ never occurs). Here the B> is
Credo in unum Deum, Fatrem omnipotentem, 1 believe in one God, Father Almighty, maker oí
used as an upper neighbor decorating A, the reciting tone of m ode 4: .
íactorem caeli et terrae, visihilium omnium et heaven and earth, and of all things visible and
The Credo marks the end of the fust main division of the Mass which centers
invisible.
on Bihle readi~gs ~~ ~inging psalms more than on ritual actions. Ít is followed by
invisihilium.
Et in unum Doroinum Jesum Christwn Filium Dei And in one Lord Je.sus Christ, the only-begotten
unigenitum. Et ex Patre natum ante omnia Son oí God. Bom ofthe Father befare all ages. the second mam diVlSlOn, whose focus is the preparation for and giving of com-
saecula. Deum de Deo, lunien de lumine, Deum God of God,light oflight, true God oftrue·God. munion to the fai~.
verum de Deo Yero. Genitum, non factum, Begotten, not made, being of one substance with
consubstantialem Patri: per que m omnia facta the Father, bywhom all things were made. Who (g) Offertory: Tul sunt caell
sunt. Qui propter nos ha mines et propter forus humans and for our salvation descended
f:romheaven. And was made incarnate bythe

olfert.~~~§~~~~~§~~~~~~~~~Sª
nostram salutem descendit de caelis. Et
incamatus est de Spiritu Sancto ex Maria Vrrgine:
et hamo factus est. Cruciñxus etiam pro nobis:
sub Pontio Pilato pa88US, et sepultus est. Et
Holy Spirit of the Vrrgin Mary, and was made
man. And was cruciñed for us; under Pontius
PUate He died, and was huried. And rose again on
the third day, accordingto the Scriptures. And
T4. - •"• • .a,.,., :'Jii"•· 1 ~ ¡a •--/\;1•,"'• J
U- I sunt • caé- Ji, et tú- a est

,....
resurrexit tertia die, secundum Scripturas. Et
ascendit in caelum: sedet ad dexteram Patris. Et
iterwn venturus est cum gloria judicare vivos et
mortuos: cujus regni non eritímis.
ascended into heaven, and sits at the right band
ofthe Fatlíer.AndHe shall come again withglory
to judgethe living and the dead; ofwhose
kingdom there shall be no end. •• •'
; . ... ... ~ ~
•
1'i • ."'~.
•
1
a •
Et in Spiritwu Sanctum, DontinÚm, et~viñcantem: And in the Holy Spirlt, Lord and giver oflife, who tér- ra : órbem ter- rá- rum, et ple- ni-tú- di-
qui ex Patre, Filio que procedit. QÍrl cum Patre, et proceeds from th,e Father and the Son. Who,
~
Filio simul adorator, et congloriñcatur: qui togetherwith the Father and the Son, is worshiped
locutus e.st per Prophetas.
Et unam sanctam catholicam et apostollcam
and glori:úed; who spoke by the prophets.
And one holy, Catholic, and.Apostolic Church. .. ~·r~ ,..: a'1
Ecclesiam. nem é- JUS tu fundá- sti justí-
Conñteor unumhaptisma in remissionem 1 acknowledge one baptism forthe remission of
peccatorum. Et exspecto resurrectionem sins. And 1awaitthe resurrection ofthe dead. G
mortuorum. Et vitam venturi saeculi. Amen. And the li!e ofthe world lo come. Amen.
oH • rj 11 llBD,., 1
t. A ••
!

ti- a ·=- et judf-

1
ci-
•
u m praepa-rá-

The Credo, or Nicene Creed, is a statement of faith that summarizes the central
'

ti- o
.....
doctrines of the Catholic Church. It was adopted ·at the church council at Nicaea
sé- dis tú- ae.
in 325 c.E. and later revised. This was the last item to be added to the standard
form of the Mass (in 1O14), and it was the last of the Ordinary chants to be taken Tui sunt caeli, et tua ~t terra: orbem terrarum, et Thine are the heavens, and Thine is the earth: the
awayfrom the congregation and given to the choir. The long associatioil with con- plenitudinem ejus tu fundasti: justitia et world and the fullnea.s thereofThou hast founded·
judicium praeparatio sedis tuae. justice and judgment are the prf:paration ofThy '
gregational singing explains why all Credo melodies are syllabic and relatively
simple, why there are relatively few Credo melodies, and why Credo melodies are throne. (Psalm88,11, 13 [89,11, 13])
not included in cycles of Ordinary chants. It also explains why the priest begins

;
l
 7 HILDEGARD OF BINGEN • Ordo virtutum: Closing chorus, In principio omnes
Hildegard of Bingen (lo98-n79)
Ordo virtutum: Closing chorus, In principio omnes
Sacred music drama
• • • íí • • • . •
,,,
;¡
• • . •
CA. 1151
do
"' us - que P"' me- um

; íí '
• •
; •
•
•
de- res

d- gat
• :
quod
pi•

¡; •
om
;¡

ni
•
g<m

• mom
. ..
=
;
·~
• •
me- a
Nom mo

ir-ri-
.
; • ¡¡;
nom
. ,
dunt. vi - de,
• •
vul-oe-ra
.
me- a
•
- o Ya-

•'
bi
•
o
• jí
•
do, •
Er - go
;
nooc,
'
• ;
om
. • •

"nes, ge-ou-a •• •• Pa - trem

• ; • ;
•
$lrom fle

;¡; • " ;
' •
'"
. . .... --.
am por
í •• .. ? '
•

; . : . •
; . . ...... --. ;¡ •
ri gac
•
Vumres.AND Sour.s
In principio omnes -creatureYiruerunt, In the beginning all creatures flourished,
in medio fLores florueiUllt; they bloomed in the middle of :D.owers;
postea -vír:iditas descendit. after that greenness. declined.
Et istud vir proCliator vidit et dixit: The warrior [Christ] sawthis and said [to God]:
Hoc scio, ::;ed aureus numerus nondum est u'This I k:now, butthe golden number is notyet
plenus. complete.
Tu ergo, paternum.speculum aspice: incorpore Yo u, therefoie,look u pon the Father's reflection:
meo fatigationem sustineo, parvuli etiam mei in my body, I endure fatigue, even m y children
de-fr.ciunt. wéaken.
Nunc memor esto, quod plenitudo quae in primo Now bem.indful, forthe fullness thatwas made at
facta est are seere non debuit, ettunc in te the beginning dídnotneed to wither, andatthat
habuisti quod oculus tuus numquam cederet time you deemed that yo u would not turn away
usque dum corpus meum vid~res plenum your eye until you could se e m y body covered
geliliilal'Uill. withgems. -
Nam me fatigat quod omnia membra It wearies me that all myfollowers [literally, my
mea in irrisionem vadunt. limbs] are subjected to mockery.
Pater, vide, vulnera mea tibi ostendo. Father, behold, 1 showyou mywounds."
Ergo nunc, omnes homines, genua vestra ad Now, therefore, allhumankind, bendyour
Patrem vestrum flectite, ut vobis manum suam knees befare your Father, that he may offer
porrigat. his hand to you.

36

9 COMTESSA DE DlA • A chantar
1 o,ss 1 D'aisso • m conort car anc non ñ faillenssa,
ami es, vas vox per nulla captenenssa,
anz vos am maís non fetz Seguis Valenssa;
e platz me mout quez eu d'amarvoxvenssa,
lo mieus amics, car etz lo plus valens;
mi faltz orguoill en ditz et en parvenssa,
e si etz francs vas tatas autras gens.
Be • mmeravill comvostre cors· s'orguoilla,
ami es, vas me, per qu'ai razon qu'ieu • m duoilla;
non es ges dreitz c'autr' amors vos mi touilla
per nuilla ren que · us diga ni acuoilla;
e membre vos cals fo • 1comenssamens
de nostr' amor! ja Domnedieus non vuoilla
qu'en ma colpa sia · 1 departimens.
Pro esa grans qu'el vostre cors s'aizina
e lo rics pretz qu'avetz m'en ataina,
c'una non sai,loindana ne vezina,
si vol amar, vas vos non si'aclina;
mas vos, amies, etz hen tant conoissens
que hen devetz conoisser la plus .fma:
e memhre voS de nostres covinens.
Valer mi de u mas pretz e mos paratges,
e ma beltatz e plus mas ñs coratges,
per qu'ieu vos mand lai on es vostr' estatges
esta chansson que me sia messatges;
ieu vuoill saber, lo mieus beis amics gens,
per que vos m'etz tant fers ni tant salvatges;
non sai sis'es orguoills o mal talens.
Mas aitan plus vuoillli digas, messatges,
qu'en trap d'orguoill ant grant danmaintas gens.
According to a vid-a Oife), or biographical tale, from ah out a century after she lived,
"Beatrix, comtessa de Día [Countess oíDia], was abeauti:ful andgood woman, the
wiíe oí Üuillaume de Poitiers. And she was in lave with Rambaud d'Or~e and
roade about him many good and beautiful songs." It is not k:nown which parts
of this account are legendary and whlch parts are true. She has tentatively been
One thing consoles me: that I have never
wronged you,
m y lo ve, by my behavior towards yo u;
indeed 1 lave yo u more than Se quin loved
Valensa;
and I am glad that my lo veis greaterthan yours,
my lave, since yo u are the more worthy;
you are haughty towards me in yourwords and
your dell':eanor,
yetyou are friendly to everybody else.
I am amazed how disdain:ful yo u have grown,
my lave, towards me, which gives me good
reason to grieve;
it is not right that another lave shauld take yo u
awayfromme,
wbatever she may say to attract yo u;
and rememb.er how our lave began!
G<ldforbid
that I should be to blame for ourparting.
The greatprowess which yo u have
and your D.ne reputation worry me,
for I k:now no woman, near or far,
who would not turn to yau, if she were inclined
ta lave;
butyou, my lave, are discerningenough
to k:nowwho laves ya u most truly;
and remember the agreementwe made.
Myreputation and mynohle birthshauld mvayyau,
and my beauty, and ah ove all my faithful heart;
therefare 1 send to yo u where yo u dwell
this songta be my messenger;
I want to know, my noble lave,
whyyou are so haughty and disdainful tawards me;
I do not knowwbether it is pride or malice.
Butmost of all I wantyou to tellhim, messenger,
that excess of pride has be en the dawnfall of many.
9 COMTESSA DE Du· • A chantar ( 45
identiúed with "Beatrix comitissa," named in a document of 1212 as the daughter
of Count Isoard JI of Dia.
Uke NAWM 8, A chantar is a canso in the Occitan language. However, in this
songthe tables are turned, and it is the woman inlove who writes oÍthe pride and
disdain of her male lover. It has be en suggested that the poetry of the fe male trou-
badours (called trobairitz) is more realistic and less artiñcial than tha.t of theír male
pee_rs, as if the women were speaking from reallife experience rather than of an
idealized lave circumscribed by conventions. A chantar is the only song by a tro-
bairitz for whích the music is k:nown to have survived.
The canso consists of ñve seven-line stanzas with the rhyme scheme aaaahab,
followed by a :fmal couplet that is sungto the same music as the last two lines of the
preceding stanzas. While the a rhymes vary from stanz.a to stanza, the h rhymes are
the same throughout the poem ("- ens"),linking the stanzas together. The melody
used with each stanza repeats phrases in the pattern ah ah cdh, creating an overall
formofAAB:
Secti.ons
1\f~ical phrases
Rhpue scheme
TheAand B seétions have a musical rhyme because both end with the same musi-
cal phrase. AAB forro, with or without a musical rhyme, is found in several trou-
badour songs and many songs of the trouvéres "and Minnesinger. The melody is in
the ñrst mode, and the pattem of cadences (E and D in the A sections; F, E, and
D in the B section) reinforces the forro. by closing on the final only at the ends of
sections. Each phrase is a sha:[>ely, mostly stepwise curve.
On the accompanying recording, the singer is unaccompanied and sings in rel-
atively free rhythm, moving more quickly when there are two or three notes on a
syllable to maintain roughly equal durations am.ongthe syllahles. As in NAWM 8,
the round noteheads with tails indicate two pitches, the main note and the note a
step down (ifthe tail goes down) orup (ifthe tail goesup). Onlytheñrsttvfo verses
appear on the recording.
78 ) 18 · Clausulae onDominus, from Jlidenmt omnes
Perotinus
note. The repeating rhythmic pattern in the tenor emphasízes the ñrst and third (FL. LATE TWELFTH AND EARLY THIRTEENTH CENTURIES)
8
dotted quarter note of every grouping, creating an effect similarto that of meter. Viderunt omnes
However, the editor has not introduced barlines, and instead treats each perfect
long as a unit, numhering them as iÍ eaeh perfect long were a measure of The9.
duplum either rests with the tenor, producing short phrases, or keeps moving
Organum quadruplum
CA.H98
19
when the tenor rests, resulting in longer melodic phrases. Often the melodic and
rhythmic contours in the duplum produce a sense of paired phrasing and varied
repetition; for example, the frrst two phrases (longs 1-8) are varied in the second
two phrases (longs 9-16), and the ñrst four (longs l-16) are varied again in the F.!'
second four (longs 17-32). If the piece were barred in§ meter, almost ever¡ ~~

downheat would have a perfect consonance, with either dissonance or consona.nce Q

in between downbeats.
> ,.,_
Both voíces in clausula No. 29 use mode 2 (short-long, with the short note on -. ~~

the beat), which gíves thís clausula a very different rhythmic character. 'Although .Tr .
> (Vi-
mode 2 is the prevalent rhythm, both voices include perfect 1ongs (transcribed as
dotted quarter notes), providing variety to the texture. Once again, the rhythmic
repetitions in both voices create paired phrases (compare 1ongs 1-8 with 9~16
and 1ongs 17-24 with 25-32). All these repetitions, variations, and pairings create
D
,. IV!.
~ ~

a very clear sense of structure, a characteristic that was oí great importance for
thirteenth- century music.
T
~
. ., • VI·
In the context of a complete performance of Vtderu.nt omnes in the Mass for
Christmas Day, any clausulae used for Dominu.s would have been performed by the
same forces as in the setting in NAWM 17: ah out ñve voices on the tenor, and a
soloist on the duplum. However, such clausulae found a new life as motets when
words were added to the duplum. On the accompanying recordings these clausulae
are sung by two soloists to facilitate comparison to the motets in NAWM 21.

1>

¡r

Fromie M~u.s LíbuOtgoni deNmre-.DoTMde.furi.s, vol. l,úsQu<ldropla et nipladelb.ri.s, ed. Edward IL Roesner
<Mo naco: Editions de l'Oiseau~Lyre, 1993), 1-14. Reprinted bypennfs.sion.

79
80 ) 19 PEROTINUS • Vlderuntomnes 19 PEROTINUS • Vlderontomnes
"- 81

.---- 110

1~ 1'
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130

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140

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100
160

_y

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82 ) 19 PEROTINUS • Yíderunt omnes
19 PEROTINUS •. Vuieruntomnes

180
~

1'

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210 220

lOO
310

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84 ) 19 PEROTINUS • Vlderuntomnes
19 PEROTINUS • Yideruntomnes __
( .___ 85

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86 ) 19 PEROTJNUS • Yi:derunt omnes 19 PEROTINUS • V'tderunt omnes \ 87
'----
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100 170 100
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 21 · Motets on Tenor Dominus
21 • Motets on Tenor Dominus

ThiPLUM

(e) Super te/Sed fulsit virginita&'Dominus Super te Ierusalem Overthee, Jerusalem,

dematrevirgine from the -virginmother
~
e-, ortus est in Bethlehem has arisen in Bethlehem
T< ~·~
~
' deus in hoinine Godinman;
'
V LSu-p«
"·
,, N-O em. 2. de =-~ vir - gi
r<·
~ .or-tus
ut gygas substancie
proceS8it gemi.y.e
like a giant of twin suhstance
he has come forth
M ~<M ~

gi-ni
"
eu2.desm = fb-tni ~:3.Er .. ~ -
virginis ex u tero
sine gravamine
from the -virgin's womb
without effort;
T
.._,_ fui
!.Sol
"' "'' " non fuit feconditas
hec viri semine.
this pregnancy did not occur
through human :,;eed.
V OO(MINU~
,-o DUPLUM

" " Sed fulsit virginitas Rather, hervirginityreceived its splendor

''
~
" •.. .U< ., - de ::;aneto flamine from the Holy Spirit;
in bn -mi
1~ ~ in "" - ¡,
~
= .-;
.De-m
Ol
" ergo pieYirginis
flos pie domine
therefore, pious virgin's
:flower, pious lord,
' . 5." mo -& bm crl-tni- da medelam criminis hringus the remedyfor our crime
"'"'M-
llfl¡ l .
pi - ~-

1" ' - gi ni.s 4.1lcs.,

' " matris pro nomine forthe name ofThy mother,
"' ne nos preda·demonis lestwe fall prey to the devil
' simus pro crimine for our crime,
''J quos preciosi sanguinis we who the flood of Thy precious hlood
,, " emisti flumine. has ransomed.
" " ro
.vir-gl. ois ex u - te TENOR
rob stan-d ~
1V "' Dominus Imd
nis 8. U - mU'I pro ai-mi
de- !IlO
~V ni>
. rru-ttis pro no-mi ne, 7. nc nos pre "'01
•
e- ~
"
~ ~
"' " ...
fe-con-di - ~
o. he<; vi ri ~ mi
These three pieces illustrate three stages in the development of the motet and
nc. 9. Non fu - it
!:-- h
demonstrate the medieval practice of reworking exísting music into new guises.
- mi-
"· All three are hased on the same chant melody, the melisma onDominus from the
1'J • = ""
O. e-mi
"' "'
nc, 9. quos pre - ci-o_
""' " Gradual Vulerunt omnes (NAWM 3d), which we have seen set in discant style by

~-
Leoninus or hís colleagues (in NAWM I 'l), hynvo anonymous composers (NAWM
18a andh), and by Perotinus (in NAWM 19). As is customary, eacb motel is identi-
ñed by a titie made up of the fust words of each voice from highest to lowest .
. Typical ofthe earliest motets, Factum est salu.tare/Dominus is a direct adaptation
of adiscant clausula. It was createdhyaddingwordsto the uppervoice ofthe clausula
onDominuS in NAWM l8a, which appears earlier in the same ·manuscript ofNotre
Dame polyphony, prohahly copied in Paris in the I240s and now in F1orence. Sine e
the musicwas alread}'written, the poethad to accommodate his textto the number
of notes in eaeh phrase of the duplum, which resulted in varying line Iengths and
....niu Codel; Pnrt Il: .fu.scid.e3 3. 4, tmd S, Recent Resem::hes ~ the Mll\ic of
From H.an.s 1lschler, ed., The M~·F.. . n· A-REditions. 1978), 6~1. Repñntcdbypermis.sion. accentuations. Whensetwith text, the duplummay also be termed the motetus.
tbe MiddleAges and Early Rena~s.sanc_e 4-S ~:::thaMEarlr rourn.mth. Cenrurtcs, ed. Ernest H. Sanden, As is true of many early motets, the text for the duplum is a trape on the words
Trarulationadapted from.&gU.sh.Mu.ncoflhe . Éditions de l'Qis.eau-Lyre. 1979), 239. Reprintedby
Polyphonlc !.fusic ofthe Fourtecnth Cllntwy 14 O.fon.aro.
ofthe chant from which the tenor is tak~n, in this case the verse ofV«ierunt omnes:
per:mission.