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An Index of Gregorian Chant, Volume II An Index of Gregorian Chant Volume II: Thematic Index Compiled by John R. Bryden and David G. Hughes Harvard University Press, Cambridge, Massachusetts, 1969 © Copyright 1969 by the President and Fellows of Harvard College All rights reserved Distributed in Great Britain by Oxford University Press, London Library of Congress Catalog Card Number 71-91626 SBN 674-44875-8 Printed in the United States pf America INTRODUCTION TO VOLUME II The second volume of this Index contains largely the same information, and follows the same rules as the first. For full particulars, the user is referred to the general introduction, Volume I, pp. vi-xv. The following paragraphs deal with those matters in which Volume II differs from Volume I. 1. Content. Volume II contains all the entries of Volume I except those that for any reason appeared there without melodic incipit. 2. Order. The order of entries in Volume II is determined by the eight figures of the melodic incipit in algebraic sequence (i.e. -5, -3¡ -2, -1, 0, 1, 2, etc.). Kntries having the same melodic code are arranged in alphabetical order of their texts. If the texts are also the same, then the order is by the textual incipit of the main chant (if the entries are for verses), or the page number or item number in the first source cited (e.g., of two Kyrie with identical melodic incipit, MEL #184 would precede MEL #185). 3. Arrangement of the entries. In the first column there appears the starting pitch of the chant. As in Volume I, this is for information only, and has no effect on the filing order. There follows the eight-number melodic code. Then the final is given, except in the case of verses. The text incipit appears next, followed by the sources, the category, and the mode (the last also omitted for verses). Discrepancies between the two volumes. In general, the entries in Volume II duplicate exactly those in Volume I, even at the cost of occasional minor incongruities. Thus, for exançle, the entries for an Alleluia and its verse, separated by hundreds of pages in Volume I, are here often brought directly together, making it evident that the text incipit has been carried out to different lengths in the two entries (e.g. "Alleluia: benedicamus patrem . . • laudemus," followed at once by its verse, "Benedicamus patrem et filium cum ... laudemus"). This is natural, since the amount of text used was determined by the need to achieve clarity in the alphabetical arrangement of Volume I. There seemed to be no need to impose an artificial uniformity on such cases in Volume II--indeed, there was some risk that to do so would invite error or obscurity. A somewhat different problem is presented by the indication of mode. It seems at least odd to find a group of entries, all with the same melodic incipit and final, of which some are assigned to mode 2 and others to mode 1. In fact, however, identical incipits do not by any means guarantee that the entire melodies are the same: difference in modal assignment may merely be the result of different melodic continuations. Even when the melodies are substantially the same, the sources may unequivocally disagree and assign one to the authentic and another to the piagai form. Only in the case of the hymns from ST—where the modal designations are the compilers' own—has it been thought occasionally desirable to impose uniformity, if only for appearance's sake. The few changes thus made have all been from authentic to piagai of the same maneria, or the reverse, and they have not been carried back into Volume I. 5. Appearance of textual variants. The re-ordering of the cards for Volume II brought to light a number of cases of variant text-beginnings that conceal the identity of apparently different chants. Thus, for exemple, Huic dum eremum turns out to be substantially the same, in both text and music, as Qui dum eremum—an identity that passed unperceived so long as the two entries were many pages apart in Volume I, but became evident when the melodic filing of Volume II brought them to suc- cessive pages. In order to make use of such disclosures, however, to enlarge the number of cross- references in Volume I, the compilers would have needed either to produce a duplicate set of cards, so that both orders could be consulted at once, or to effect very extensive revisions in the final typescript of the first volume. Neither of these was financially possible. -ν- Sigla Used for the Sources (for full titles, see Vol. I, pp. xiii-xv) AM Antiphonale monasticum AR Antlphonale Romanum (or Liber antiphonarius) BOS Bosse, Untersuchung . . · Gloria GB Graduel de Benevent (Pal. mus. XV) GR Graduale Romanum (or Liber gradualis) GS Graduelle Sarisburiense LA Antiphonaire monastique ... de Lucques (Pal. mus. IX) LR Liber responsorialis LU Liber usualis MEL Melnicki, Das einstimmige Kyrie OHS Officium hebdomadae sanctae OTT Ott, Qffertoriale PM Processionale monasticum SCH Schildbach, Das einstimmige Agnus Dei ST Stäblein, Die Hymnen SYG Graduel de Saint-Yrieix (Pal. mus. XIII) THAN Thannabaur, Das einstimmige Sanctus VP Variae preces WA Antiphonaire ... de Worcester (Pal. mus. XII) Abbreviations for Categories of Chant al Alleluia alv Alleluia verse an antiphon anv antiphon verse CO Communion cov Communion verse Gradual gr grv Gradual verse hymn hy int Introit intv Introit verse inv invitatory of Offertory ofv Offertory verse re great responsory rev verse of great responsory sr short responsory tr Tract trv verse of Tract Other Abbreviations ine illeg incipit (either textual or musical) illegible ir tonus irregularis nm no music sup supplement tp tonus peregrinus var variant AN I N D EX OF G R E G O R I AN CHANT THEMATIC INDEX