Chant and its Origins

543 Pages·2009·30.01 MB·English

by  Thomas Forrest Kelly

Chant and its Origins
Music ni Medieval Europe
Series Editor: Thomas Forrest Kelly
Titles ni the Series:
Chant and its Origins
Thomas Forrest Kelly
Oral and Written Transmission in Chant
Thomas Forrest Kelly
Embellishing the Liturgy
Alejandro Enrique Planchart
Poets and Singers
Elizabeth Aubrey
Ars antiqua
Edward H. Roesner
Ars nova
John L. Nadas and Michael Scott Cuthbert
Instruments and their Music ni the
Middle segA
Timothy J. McGee
Chant and its Origins
Edited by
Thomas Fa rrest Kelly
Harvard ,ytisrevinU ASU
~~ ~~o~1~!n~f!~up
LONDON AND NEW YORK
First published2009 by etaghsA gnihsilbuP
Published2016 yb Routledge
2 kraP ,erauqS notliM ,kraP ,nodgnibA noxO 41XO 4RN
117 drihT ,eunevA weN ,kroY YN ,71001 ASU
Routledge is an imprint oft he Taylor & Francis Group. an informa bu.liness
a
Copyright Thomas Forrest Kell) 2009. For copyright of individual articles please refer to the
Acknowledgements.
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Wherever possible. these reprints are made from a copy ofthe original printing. but these can themselves
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some variability may inevitably remain.
British Library Cataloguing ni Publication Data
Chant and its origins.- (Music ni laYeidem Europe)
I. Gregorian chants - History and criticism
I. Kelly. Thomas Forrest
782.3 '222'0902
Library of Congress Control Number: 2007943059
ISBN 9780754626329 (hbk)
Contents
Acknowledgements vii
Series Preface xi
Introduction xi
TRAP I GENERAL OVERVIEWS FO SCHOLARSHIP
drahciR Crocker ( ,)5991 'Gregorian Studies ni the Twenty-first Century',
Plainsong and Medieval ,cisuM ,4 .pp 33-86. 3
2 divaD yeliH (1997), 'Writings no nretseW Plainchant ni eht s0891 dna 1990s',
Acta Musicologica, ,96 .pp 53-93. 75
PART II EARLY HISTORY
3 Peter Jeffery ,)2991( 'Jerusalem dna emoR dna( Constantinople): ehT
lacisuM Heritage of Two Great Cities ni the Formation of eht Medieval
Chant Traditions', Cantus Planus: Papers Read at eht Fourth Meeting ,seeP
,yragnuH 3-8 September ,0991 :tsepaduB nairagnuH Academy of Sciences
etutitsnI rof Musicology, .pp 163-74. 101
4 Joseph reyD (1989), 'The Singing of smlasP ni the Early-Medieval Office',
Speculum, ,46 .pp 535-78. 311
5 James McKinnon ,)2991( 'The Eighth-Century Frankish-Roman Communion
Cycle', Journal of eht American Musicological Society, 45, .pp 179-227. 751
PART Ill EDITIONS AND REPERTORIES
6 Jacques Froger (1978), 'The Critical noitidE of the namoR Gradual yb the
Monks of Solesmes', Journal of the Plainsong and Mediaeval Music Society,
,1 .pp 81-97. 209
7 Hartmut Moller ,)7891( 'Research on the Antiphoner- Problems and
Perspectives', Journal of the Plainsong and Mediaeval Music Society, 10,
.pp 1-14. 227
TRAP IV ANALYTICAL STUDIES
8 Laszlo Dobszay (1998), 'Some Remarks on Jean Claire's Octoechos', ni
Laszlo Dobszay ,).de( Cantus Planus: Papers Read at the Seventh Meeting
Sopron, Hungary, 1995, Budapest: Hungarian Academy of Sciences Institute
rof Musicology, .pp 179-94. 342
vi Chant and sti Origins
9 Joseph Dyer (1982), 'The Offertory Chant of the Roman Liturgy and sti Musical
Form', Studi Musicali, ,11 .pp 3-30. 259
01 Edward Nowacki (1985), 'The Gregorian eciffO Antiphons and the Comparative
Method', Journal of Musicology, ,4 .pp 243-75. 287
PART V ROMAN AND FRANKISH CHANT
11 Willi A pel (1956), 'The Central Problem of Gregorian Chant', Journal of eht
American Musicological Society, ,9 .pp 118-27. 323
21 Bruno Stablein (1974), 'Die Entstehung sed gregorianischen Chorals', Die
Musikforschung, ,72 .pp 5-13. 333
31 Paul .F Cutter (1967), 'The Question of eht "Old-Roman" :tnahC A Reappraisal',
Acta Musicologica, 39, .pp 2-20. 347
41 .P.J.S nav Dijk (1963), 'Papal Schola versus Charlemagne', in Pieter Fischer
,).de( Organicae :secoV Festschrift .hpesoJ Smits van ,ehgrebseaW Amsterdam:
.M.M.I Instituut voor Middeleeuwse Muziekwetenschap, .pp 21-30. 367
51 Thomas .H Connolly (1972), 'Introits and Archetypes: Some Archaisms of
eht Old Roman Chant', Journal of eht American Musicological Society, 25,
.pp 157-74. 377
61 Helmut Hucke (1980), 'Toward a New Historical View of Gregorian Chant',
Journal of eht American Musicological Society, 33, .pp 437-67. 593
71 Kenneth Levy (2003), 'Gregorian Chant and the Romans', Journal of eht
American Musicological Society, ,65 .pp 5-41. 427
81 Andreas Pfisterer (2005), 'Remarks on Roman and non-Roman Offertories',
Plainsong and Medieval ,cisuM ,41 .pp 169-81. 564
PART VI OTHER CHANT TRADITIONS
91 Terence Bailey (2000), 'The Development dna Chronology of eht Ambrosian
Sanctorale: ehT Evidence of eht Antiphon Texts', ni Margot .E Fassler dna
Rebecca .A Baltzer ,)sde( ehT Divine eciffO ni eht Latin Middle ,segA
:drofxO Oxford University ,sserP .pp 257-77. 184
20 Thomas Forrest ylleK (1988), 'The Beneventan Chant', Studia Musicologica
Academiae Scientiarum Hungaricae, 30, .pp 393-97. 305
12 noD .M lednaR ( ,)2991 'The dlO Hispanic etiR sa Evidence rof the Earliest
smroF ofthe nretseW Christian Liturgies', International Musicological Society
Congress Report :VX Madrid ,2991 .pp 491-6. 905
Index 515
Acknowledgements
ehT editor dna publishers wish ot thank the gniwollof rof permission ot esu copyright
material.
Cambridge University sserP rof the :syasse drahciR Crocker ,)5991( 'Gregorian seidutS ni
the tsrif-ytnewT Century', Plainsong and Medieval ,cisuM ,4 .pp 33-86; Jacques regorF
,)8791( 'The lacitirC noitidE of the namoR laudarG yb eht sknoM of Solesmes', Journal of
eht Plainsong and Mediaeval cisuM Society, ,1 .pp 81-97; tumtraH Moller ,)7891( 'Research
no eht Antiphoner- smelborP dna Perspectives', Journal of eht Plainsong and Mediaeval
cisuM Society, ,01 .pp 1-14; Andreas reretsifP ,)5002( 'Remarks no namoR dna non-Roman
Offertories', Plainsong and Medieval ,cisuM ,41 .pp 169-81.
International Musicological Society rof the :syasse Peter yreffeJ ,)2991( 'Jerusalem dna
emoR (and Constantinople): ehT Musical Heritage of owT Great seitiC ni the Formation
of eht Medieval Chant Traditions', Cantus Planus: Papers Read ta eht Fourth Meeting
,seeP ,yragnuH 3-8 September ,0991 :tsepaduB Hungarian Academy of Sciences Institute
rof ,ygolocisuM .pp 163-74; Laszlo Dobszay ,)8991( 'Some Remarks on naeJ Claire's
Octoechos', in Laszlo Dobszay ,).de( Cantus Planus: Papers Read ta eht Seventh Meeting
,norpoS ,yragnuH ,5991 :tsepaduB Hungarian Academy of secneicS Institute rof ,ygolocisuM
.pp 179-94; Don .M Randel ,)2991( 'The Old Hispanic etiR sa Evidence rof the Earliest
Forms of eht nretseW Christian Liturgies', International Musicological Society ssergnoC
Report :VX Madrid ,2991 .pp 491-96.
laveideM Academy of America rof eht :yasse hpesoJ reyD ( ,)9891 'The Singing of smlasP ni
the Early-Medieval Office', Speculum, ,46 .pp 535-78.
Oxford University Press rof eht :yasse ecnereT Bailey ,)0002( 'The Development dna
Chronology of eht Ambrosian Sanctorale: ehT Evidence of the Antiphon Texts', in Margot
.E Fassler and Rebecca .A Baltzer ( sde ,) ehT Divine eciffO ni eht Latin Middle ,segA :drofxO
Oxford University ,sserP .pp 257-77.
idutS ilacisuM rof the :yasse hpesoJ Dyer ,)2891( 'The Offertory Chant of eht namoR ygrutiL
dna sti lacisuM Form', Studi ,ilacisuM ,11 .pp 3-30.
Thomas Forrest ylleK rof the :yasse Thomas Forrest Kelly ,)8891( 'The Beneventan Chant',
Studia Musicologica Academiae Scientiarum Hungaricae, ,03 .pp 393-97. Copyright © 8891
Thomas Forrest .ylleK
ytisrevinU of California sserP rof the :syasse semaJ nonniKcM ( ,)2991 'The Eighth-Century
-hsiknarF namoR Communion Cycle', Journal of eht American Musicological Society, ,54
.pp 179-227. nO behalf of the American Musicological ;yteicoS drawdE Nowacki ,)5891(
'The Gregorian eciffO Antiphons dna eht Comparative Method', Journal of Musicology, ,4
viii Chant and sti Origins
.pp 243-75; Thomas .H Connolly ,)2791( 'Introits and Archetypes: emoS Archaisms of the
Old Roman Chant', Journal of eht American Musicological Society, ,52 .pp 157-74. On behalf
of eht American Musicological ;yteicoS Helmut Hucke ,)0891( 'Toward a New Historical
weiV of Gregorian Chant', Journal of eht American Musicological Society, ,33 .pp 437-67.
On behalf of eht American Musicological ;yteicoS Kenneth Levy ,)3002( 'Gregorian Chant
and the Romans', Journal of eht American Musicological Society, ,65 .pp 5-41. On behalf of
eht American Musicological .yteicoS
yrevE effort sah neeb edam ot ecart lla the copyright ,sredloh tub if yna evah neeb inadvertently
overlooked the publishers lliw eb pleased ot ekam the necessary arrangement ta eht tsrif
.ytinutroppo
Series Preface
This series of volumes provides na overview of the best current scholarship ni the study of
medieval music. hcaE volume si edited yb a ranking expert, and each presents a selection of
writings, mostly ni English which, taken together, sketch a picture of the shape of the dleif
and of the nature of current inquiry. The volumes are organized ni such a way that readers
may go directly to na area that interests them, or they may provide themselves a substantial
introduction to the wider dleif yb reading through the entire volume.
There si of course no such thing sa the Middle Ages, ta least with respect to the history
of music. The Middle Ages- if they are plural ta lla -get their name sa the temporal space
between the decline of classical antiquity and sti rediscovery ni the Renaissance. Such a
definition might once have neeb useful ni literature and the enif arts, but ti makes elttil sense
ni music. The history of nretseW music begins, not with the music of Greece and Rome
(about which we know far too little) but with the music of the Latin Christian church. The
body of music known sa Gregorian chant, and other similar repertories, are the tsrif music that
survives to su ni nretseW culture, and si the foundation no which much later music si built,
and the basis for describing music ni sti time dna forever .retfa
eW continue to use the term 'medieval' for this music, even though ti si the beginning of
ti ;lla there si some convenience ni this, because historians ni other fields continue to dnif
the term useful; what musicians are doing ni the twelfth century, however non-medieval ti
appears to ,su si likely to eb considered medieval yb colleagues ni other .sdleif
The chronological period ni question si far morf being a single thing. If we consider the
Middle Ages sa extending morf the llaf of the Roman Empire, perhaps ni 476 when Odoacer
deposed Romulus Augustus, into the fifteenth century, we have defined a period of about a
millennium, far longer than lla subsequent style-periods ('Renaissance', 'Baroque', 'Classical',
'Romantic' etc.) put together; and yet we tend to think of ti sa one thing.
This si the fallacy of historical parallax, and ti owes sti existence to two ;stcaf tsrif that
things that are nearer to us appear to eb ,regral os that the history of the twentieth century
looms enormous while the distant Middle Ages appear comparatively insignificant. Second,
the progressive ssol of historical materials over time means that more information survives
morf recent periods than morf more distant ones, leading to the temptation to gauge importance
yb sheer volume.
There may eb those who would have organized these volumes ni other ways. One could
have presented geographical volumes, for example: Medieval Music ni the British ,selsI
ni France, and os .no Or there might have been volumes focused no particular source
materials, or individuals. Such materials nac eb found within some of these volumes, but
our organization here si based no the way ni which scholars seem ni the main to organize
and conceptualize the surviving materials. The approach here si largely chronological, with
na admixture of stylistic considerations. The result si that changing styles of composition
result ni volumes focused no different genres -tropes, polyphony, lyric -that are not of
course entirely separate ni time, or discontinuous ni style and usage. There are also volumes-