Western Plainchant: A Handbook 0198165722, 9780198165729

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Western Plainchant

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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

8

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

Gegenwart—together

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

1

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

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

w

r

°

1

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

a

a

t

"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.

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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 Officii—Ecclesiarum Preliminary Report (Budapest, 1988). D O L D , A L B A N , Das al teste Liturgiebuch der lateinischen Kirche:

Centralis Europae: Ein

A

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,

6

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,

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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

c

La

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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

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 ,

C

ses principes

et 4

C

HELEN

constitutifs,

ses regies

pratiques

modes dans les manuscrits beneventains et ( e d s . ) , Hermeneutics

and

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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

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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

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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 .

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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

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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

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

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3 (Touen,

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

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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

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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).

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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.

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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

c

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

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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

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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

e

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

e

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

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

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

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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.

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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

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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

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' 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 .

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' 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).

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( 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

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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

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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

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et neianatique

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

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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

3

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

office—which

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

5

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 composed—often 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

drama—to

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 date—such 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 occasions—Christmas, 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 above—the fixed part associated with Christmas and the movable part associated with Easter—were 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

1

xvi

A

2 3 4 5 6

V

xiii ii

B C D E

X

F

7 8

G

NON

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

xviii

A

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

9

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

V

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.

V

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

G

i

A

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

A

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