MICROTONES ACCORDING TO AUGUSTINE Volume I Text Leo AJ Lousberg

217 Pages·2017·8.98 MB·English

MICROTONES ACCORDING TO AUGUSTINE
NEUMES, SEMIOTICS AND RHETORIC
IN ROMANO-FRANKISH LITURGICAL CHANT

Volume I
Text

Leo A. J. Lousberg
For my grandchildren

Cover: Saint Augustine (aquarelle by Carlo Tabanelli, end of 19th century. After the 6th- century
fresco from the Basilica of St. John Lateran, Rome). Collection Kunsthistorisch Instituut
Universiteit Utrecht.

Copyright © 2018 Leo Lousberg, Doorn, The Netherlands.
ISBN/EAN: 978-90-829086-0-2
MICROTONES ACCORDING TO AUGUSTINE
NEUMES, SEMIOTICS AND RHETORIC
IN ROMANO-FRANKISH LITURGICAL CHANT

MICROTONEN VOLGENS AUGUSTINUS
NEUMEN, SEMIOTIEK EN RETORIEK
IN ROMANO-FRANKISCHE LITURGISCHE GEZANGEN

(met een samenvatting in het Nederlands)

PROEFSCHRIFT

ter verkrijging van de graad van doctor
aan de Universiteit Utrecht
op gezag van de rector magnificus,
prof. dr. H.R.B.M. Kummeling,
ingevolge het besluit van het college voor promoties
in het openbaar te verdedigen
op
woensdag 26 september 2018 des middags te 4.15 uur
door

Leo André Jacques Lousberg

geboren op 24 mei 1950
te Maastricht
Promotoren: Prof. dr. A.A. Clement
Prof. dr. S. Kloeckner
Copromotor: Dr. A.M.J. Zijlstra
CONTENTS

VOLUME I

PREFACE 11

ABBREVIATIONS 13

PRELIMINARY REMARKS ON TRANSCRIPTIONS 15

INTRODUCTION 17

CHAPTER I
THE REVALUATION OF A LOST PERFORMANCE TRADITION 29
I.1. The Tonary of Saint Bénigne de Dijon 29
I.2. 'Diastematic' and 'Adiastematic' Notation 31
I.3. The Meaning of the Special Signs 33
I.4. The Monochord 49
I.5. Contemporaneous Reception 52
I.6. Definitions of Medieval Microtonality 58
I.7. The Functions of the Special Signs 63

CHAPTER II
EXPLORATORY ANALYSIS 69
II.1. First Findings 70
II.2. The System 74
II.3. Rhetoric 76
II.3.1. The Five Rhetorical Canons 79
II.3.2. Memory 81
II.3.3. Style 84
II.4. The Rhetorical Triggers of Microtones 84
II.5. Some Aggregated Data from the Sample 99
II.6. An Excursus to the Microtonal Inflections and Chromatic Alterations in the
Office 102

CHAPTER III
A SEMIOTIC APPROACH TO MICROTONAL INFLECTIONS 111
III.1. Models of Text and Meaning 111
III.2. Semiotics 119
III.3. A Semiotic Approach of Word – Melody Relations in Romano-Frankish
Liturgical Chant 123
III.4. Qualities of Being Related to Microtonal Inflections 126
III.5. The Microtonal-Rhetorical Model from a Semiotic Perspective 135
III.6. Pragmatic Considerations 142
III.7. The Microtonal Inflection as a Semiotic Parapitch 144

CHAPTER IV
THE MUSICAL GRAMMAR OF MUSEMES:
RULES AND TRANSMISSION 149
IV.1. Microtonal Inflections in the Second Mode Tractus 152
IV.2. The Melodic Grammar of Microtonal Inflections in Second-Mode Tractus 161
IV.3. A Comparison of Emphatic Phrases and Microtonal Inflections 165
IV.4. The S-files: Non-Diatonic Traditions in the Utrecht Office 169
IV.5. Melodic ‘Othernesses’ as Musemes 172
IV.6. Musemes and Transmission 184

CONCLUDING REMARKS 193

SAMENVATTING 199
CURRICULUM VITAE 203

BIBLIOGRAPHY 205

TABLES

Table I.1. Diagram with possible constellations of genera intervals in the
tetrachord 35
Table II.1. The sample of microtonal inflections 73
Table II.2. The first result of the exploratory analysis 74
Table II.3. A summary of the employment of microtonal inflections per
manuscript 98
Table II.4. Average number of words with microtonal inflections per verse per
genre 99
Table II.5. Chants with the letter ‘s’ in Ult2 106
Table II.6. The letter ‘s’ in melodic formulas 107
Table IV.1. Hornby’s emphatic labels 158
Table IV.2. The aggregated results of the analysis 161
Table IV.3. ‘Shifting’ microtonal inflections and diatonic melody 165
Table IV.4. Accentuations by emphatic phrases and microtonal inflections 167
Table IV.5. Accentuations, diachronic 167
FIGURES

Fig. I.1. The letter notation and the special signs 30
Fig. I.2. Dij PM 8, 301, Ego autem sum vermis with three special signs 30
Fig. I.3. The intervals of the three Greek genera 36
Fig. I.4. Example of a special sign in Clu, 28r: adapted clivis (twice) 42
Fig. I.5. Clivis, micro-clivis, franculus (Ult1) 43
Fig. I.6. Dij, PM 8, 160. Tibi domine: adiutor 44
Fig. I.7. Hansen 1974, 247. Tibi domine: adiutor 44
Fig. I.8. SBB mgq 1005. Fly-leaf 46
Fig. I.9a. UU-Hss, Fragment 4.3A(1)v. Fragment from an Antiphonary 46
Fig. I.9b. Ult1, 45v Missal ABM h 62 47
Fig. I.9c. Ult2, 14v Antiphonary U 406 47
Fig. I.9d. SBB mgq 1005r Fly-leaf 47
Fig. I.10. Map showing locations with sources in which microtones are
calculated 51
Fig. II.1. Ferreira Annex 2 (2004), n.p.: Introit Dum clamarem 73
Fig. II.2. A record from the explanatory analysis 77
Fig. II.3. Clu, 35v Confitemini: Type 1 inflection 82
Fig. II.4. Clu, 53r Improprium expectavit: Type 2 inflection 82
Fig. II.5/6. Ult 1, 52r De necessitatibus. Two microtonal torculi, whole tone clivis 83
Fig. II.7. Rhetorical triggers per manuscript, absolute numbers 99
Fig. II.8. Rhetorical triggers per manuscript, % 100
Fig. II.9. Ult2, 172r Cumque discederet vir, Lamberti 103
Fig. II.10. Ult2, 33r with high s 104
Fig. II.11. Ult2, 50v with low s 104
Fig. III.1. The essence of Peirce’s triad 124
Fig. III.2. The qualities of the elements in Peirce’s model 126
Fig. III.3. Peirce’s Triad in the present context: the auctor 135
Fig. III.4. Pearce’s triad in the present context: the audience 136
Fig. III.5. Philip Tagg: Figure 5-4, 2013, 174 143
Fig. IV.1. The basic structure of second-mode tractus 154
Fig. IV.2. The functional analysis of microtonal inflections, second-mode tractus 159
Fig. IV.3. The distribution of triggers 161
Fig. IV.4. The analysis of melodic grammar: Deus deus meus 164
Fig. IV.5. Emphatic phrases and microtonal inflections: Example 4.01. 166
Fig. IV.6. Microtones: shifts in rhetorical categories 169
Fig. IV.7. The Scolica Enchiriadis tone system 170
Fig. IV.8. Five settings of the communion Beatus servus 177
Fig. IV.9. Beatus servus (1) 178
Fig. IV.10. Microtones and sharps in Beatus servus, vigilantem 179
Fig. IV.11. Microtones and sharps in Beatus servus, vobis 180
Fig. IV.12. Sta 195v Beatus servus, constituet 181
Fig. IV.13. Dum medium silentium, transcription from Ult2, 22r; Sta 45r identical 184
Fig. IV.14. Musemes categorised 185
Fig. IV.15. Musemes: the rhetorical elements and musical tools in Romano- 190
Frankish chant

VOLUME II

APPENDICES

APPENDIX I Christian Meyer, Mensura Monochordi, A Summary 7
APPENDIX II Innsbruck Universitätsbibliothek MS 144, f. 5rb, 5va. 13
APPENDIX III The Sources 17
APPENDIX IV The Notation 21
APPENDIX V Exploratory Analysis 25
APPENDIX VI The S-Files in Ult2 76
APPENDIX VII The Microtonal Inflections in Second-Mode Tractus 111
APPENDIX VIII Dum medium silentium 221

The appendices in searcheable PDF format with links to the pages of the sources
consulted can be found at http://bit.ly/2Mj3HOt
Or contact me via [email protected]