The medieval Latin planctus as a genre [3]

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.

THE MEDIEVAL LATIN

IN

PLANCTUS AS A GENRE

THREE VOLUMES

VOLUME THREE

by Janthia

submitted requirement

in

Yearley

part-satisfaction for the degree

UNIVERSITY

of

of the D. Phil.

OF YORK

DEPARTMENT OF ENGLISH AND RELATED LITERATURE

JANUARY 1983

" -ý.

TABLE OF CONTENTS

APPENDIX B:

MUSICAL TRANSCRIPTIONS

OF PLANCTUS COMPOSED BEFORE

ca. 1405 Introduction Musical Notes

........................................ Transcriptions

to

2

the

Musical

6

.............................. Transcriptions

239

.................

NOTES TO VOLUME ONE Chapter

One

.........................................

253

Chapter

Two .........................................

267

Chapter

Three

274

Chapter

Four

Chapter

Five

Chapter

Six

Chapter

Seven

....................................... ........................................

281

........................................

286 294

......................................... ...:...........................

........

299

APPENDIX D

MUSICAL TRANSCRIPTIONS

OF PLANCTUS COMPOSED BEFORE ca. 1405

INTRODUCTION

transcriptions

The a way

as to

words

and music,

Notes of

(for

transcription

evidently

unless planctus

out

slightly

in

type

the

and

the

have

been

the

clef

tonality

or

Hence

is

to

However, of in

Chapters in

a it

that

assume

the

conceal

a particular

same tune

to

of

and which

style

the

of

type

process

As indicated

few.

recurrence

it

the

signs)

discussed.

deliberate.

often

regularise

transcriptions

are

MT (Musical

letters

transcription. is

each

to

with

in

also

are

The

on the

comment

arose

misplaced

between

of

aesthetic

is this

song.

The the

is

form

error

of

keeping

of

some melodies

modified

a scribal

emendation

my emendations

melody

and Six,

Four

by

demanded

occasionally

or

such

patterning.

musical

which

in

out

set

relationship

brief

provide

absent

example,

formal of

difficuoties

particular

used;

instances

transcriptions

the

the

as possible,

been

have

melodies

highlight

to

and

follow

notation

have

as far

reflect,

which

planctus

of

MT 62a,

MT 62b

alphabetically.

Transcription)

by

is

there

Where

distinguished

arranged

so on.

than

more

two

main

As far

is

headed

by

the

number

and followed one version

lower

alphabetically

and

Each

as possible

of

case

letters,

these

are

of

a melody for

example

ordered

chrono-

correspond

to

logically. There the

type

are of

Heighted

notations the

Unheighted

or

they

they

provide

form.

musical

have

should

useful

been

method

of

stable

melodic

However,

the

and

are

and

a

ligature.

diagrammatic since

no purpose

intervals.

concerning melodic

contours

and

original

neumes

the

heighted

versions

of

Neume

(Solesmes,

n. d. ).

This

is

a clear

unheighted

melodies

belong

to

a relatively

could

above

and I

have

non-liturgical

be

or

in

serve

about

by

preceded note

presented

little

sources.

that

Graduel

tradition,

manuscript

these

indications it

reproduced

representing

that

pitch

the

and first

are

argued

about

Alternatively

E. Cardine's

melodies.

be

could

These

pitch

stave

notations

no information

give

However,

as in

It

at

clef,

original

semi-heighted

transcriptions.

in

provided

transcribed

are

of

transcription.

of

notation

musical

reproduction

types

said

which

on occasion melodies

used with

the

it which

same melody,

here I

for

chant

am chiefly

are

concerned survive

in

only

clearly

of

limited

ensures

that

is

care

On this

basis

In

information

arrows.

However,

mark arrow

ascending

arrow),

the I

have

concerning

versions from

the

have

not

the

the

for

these

of

later

as the

basis

except

for

for

positioned

in

survive is

Although

the

a reconstruction

are

unheighted

they

are

either less

or to

seems unwise of

small

accurately;

versions

earlier,

or

only

too

often

heighted

Gestalt,

it

unheighted

intervals

centuries

factors

I

not.

a dot

with

which

indicating

as two

succession,

a preceding

of

neumes

same melodic

as much

On account version

the

in

an arrow.

examples

which

ascending

a preceding

reconstructions

for

or

did

with

neumes

reconstructions. to

region,

of

it

with

of virgae

available scope

examples

puncta

like

of

This

occurs

that

or

- without

case

space

scribe

adhere

a different

a heighted

one

a punctum

pitch.

virga

or

of

a series

attempted

provided

normally

ornamented.

of

more

by descending

altered

a series

initial

music

pitch

intervals.

that

assumed

rising

punctum

subsequent

In

source

unheighted I

of

first

melodies.

given

extant,

first

occasionally

one manuscript to

the

as the

only

semi-heighted

that

and register

same level have

either

one

the

ascertain

be discussed

have or

them

concerning

can

represented

than

the

I

a falling

more

(and

particularly form

are

constructing

and to

they

or

method

transcriptions

of

neumes

musical

accordingly

the

the

transcription

where

only

exercise

provide, to

of

is

assume

descending

at

they

respectively,

explicit

therefore

which

type

this

the

analyse.

relating

indicates,

one cannot

to

matters

accurately. virga

taken

this

Diagrammatic

source.

However,

value.

justify

to

stable

one manuscript

information

explicit

or

insufficiently

either

nominate

an unheighted

melody. All

melodies, (MT 16,

notation (a. 1316)), of

the

to

be approximately

been

musical

a fixed

time

conductus

this not

issue

from

I-Fl

Pluteo (The

is

often

a highly

fr.

isosyllabic

style:

here

each

syllable

or

This

any

of

1961),

subjective

notes,

is

assumed

method

of

transcription

has

the

Polyphonic Part

III,

exercise.

3

it

melody, to

attempt

(ca. 1240)

29.1

of

does

in. detail

interpret

146

group

the

notation

discussed

Notation

Mass.,

F-Pn

than

to

attempted

Petronian

from

distorting

is

in

written

and MT 69,

note,

the

each

motets,

(ca. 1330)

value.

without

(Cambridge,

edition

in

Moreover,

as W. Apel

since,

this

equal

rhythm.

have

the

potentialities

values: I

in

corresponding

because,

adopted

latent in

and its

two

512

GB-Cgc

transcribed

are

text

from

the

rhythm

Chapter of

the

iii)

There

are

melodies

Six. polyphonic 628

900-1600,

Chapter

more

indicate

normally

and D-W Helmst. Music,

the

render

not in

reveals

(s. xiii fifth

demonstrates, no serious

mid.

)

problems

by

this

However,

in

raised

melodies. frequently

are

imitation

the

of to

contrast

to.

difficulties Isosyllabic monophonic

Arlt

has

the

of

significance

over, is

each

four

by

In

transcriptions are

than

of

marked

from

melodies

is

ligature

belong.

rests

modern

Except rest

employed,

indicate

to

order

are

the

are

for

intended

was As W. 4 (1980),

BJb,

a number

of

signs, More-

confidence.

a different

these

of

the

above by

marked

one

hand

of

to

make clear

the

in

the

case

which

marks chant

Where text,

to

layout

a bar

the

which

for

half-bar

melodies

more

the

motets, by

those

stave;

syllables

indicated

are

manuscripts

musical

the

the

of

five

a slur.

syllable

of

phrases

each

brackets

manuscripts

is

groups

were

conceived.

with

in

four

they

since manuscript

includes

from

square

provided

my transcription

of

the

Interpretation',

und

written

melodies

with

other

ligature

one

the

be determined is

the

resolve

for

provided

notation

manuscript

planctus

to

own idiosyncrasies.

its

typified

ligatures of

the

of

sought

before

Schrift

cannot

which

not

be an

to

rhythmic

(ca. 1300),

Franconian

this

of

notation

providing

been

also

a century

('Musik,

out

pointed

91-132),

least

intended

of

mode

rhythmic

which

stage.

no number

idiosyncratic

and its

this have

E-BUlh

at

composed

have

I

at

caudae

from.

planctus

written,

the

by

is

cauda

there

a cauda

with

survive, about

a means

passages.

transcriptions

likely

most

and thus

syllabic

raised

the

likely

Quite

which

these

of

sections

syllabic

scholars

amongst

clausula

the

the

small. ýnumber

the

disagreements

belongs

a melody

to

respect

with

which line.

In

lines

are

the

chant

employed. Only

a selection

melodies

have

do the

availability

the

manuscripts

not

available

I

have

they and

been

'Heu

Hence,

to

cur

in

nobis

internas

case

post

small

number

of

previous

Appendix

A:

following

s. xv

the

I

Otherwise

have

dating

and

'Omnipotens have

editions

of

been

employed

not

planctus

(L21)

mortuum'

transcribed

just

(L60)

were

which

before

planctus

that

fact

microfilm

ungere

two

versions

for

planctus

the

mid.

the

(s. xiii)

my request of

sources

of

mentes'

of

of

to

309

'Cum venissem

manuscript

the

Owing

transcriptions

(L59).

a number

The

time

based

reasons,

and D-W Novi

the

at

of

pragmatic

microfilm.

respectively,

in

for

32 (s. xiii)

contigit'

survive

is

or

provide

is,

that

particularly

(L111),

facsimiles Perg.

versions

many extant this

photography

unable

which

'Heu

also

in

A-KLA

misere

very

transcribed; of

contain;

melodies

The

been

for

the

of

s. xv

all mid..

mentioned, pater

been

melodies

and

altissime'

included. are

listed

(Mus. ). signs

have

4

in

the

musical

transcriptions:

0) J

plica in

plica

Petronian

liquescent

ºA

particular (a)

oriscus

iGO ii

distropha

m

duplex

from

the

help

in

the

Die

S. Corbin,

'Neumatic

J. Hourlier,

longa

study

the

above

have

following

been

of

of notation:

notations

'Semiologie

S. Corbin,

tristropha

and

mentioned

works

pre-modal

E. Cardine,

notes

quilisma

Oý

Apart

notation

Etudes

gr¬gorienne',

Neunren,

Palaeographie

Notations',

La Notation

der

Musik,

1.1

(Cologne,

1-158

1977)

13,128-44

NG, des

musicale

11 (1970),

gregoriennes,

liturgiques

chants

latins

(Solesmes,

1959) E. Janmers,

Tafeln

E. Jammers,

Aufzeichnungsweisen

des

Mittelalters,

B. Stäblein,

3.4

(b)

H. Besseler

post-modal

geschichte J. Caldwell,

der

(Leipzig,

Medieval

1965)

einstimmigen der

einstimmigen

Musik

ausserliturgischen

Musik,

1.4

(Cologne,

Musik,

Musikgeschichte

1975) in

1975)

notations

and P. GUlke, in

der

Palaeographie

Schriftbild

Bildern,

(Tutzing,

Neumenkunde

zur

Schriftbild

der

3.5

(Leipzig,

Bildern, Music

(London,

mehrstimmigen

1978),

.ý

5

Musik,

1973) Chapter

Five.

Musik-

Mt 1: "

i.

A " "

3.

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