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SACRED AND PROFANE MUSIC (St. John's College, Cambridge, MS. B. 18.) Twelfth century - - '
EARLY MEDIEVAL MUSIC UP TO BOO EDITED BY DOM ANSELM HUGHES GEOFFREY CUMBERLEGE OXFORD UNIVERSITY PRESS LONDON NEWYORK TORONTO 1954
Page 2 and 3: 780.9 N532 v.2 5^5385 780.9 1532 T2
Page 7 and 8: NEW OXFORD HISTORY OF MUSIC VOLUME
Page 12 and 13: Oxford University Press, Amen House
Page 14 and 15: vi GENERAL INTRODUCTION music is no
Page 17 and 18: CONTENTS GENERAL INTRODUCTION V INT
Page 19 and 20: CONTENTS xi The Easter Sepulchre Dr
Page 21: ILLUSTRATIONS SACRED AND PROFANE MU
Page 24 and 25: xvi INTRODUCTION TO VOLUME II indee
Page 26 and 27: xviii INTRODUCTION TO VOLUME II Cor
Page 28 and 29: 2 EARLY CHRISTIAN MUSIC so that the
Page 30 and 31: 4 EARLY CHRISTIAN MUSIC c. 430); bu
Page 32 and 33: 6 EARLY CHRISTIAN MUSIC liturgical
Page 34 and 35: 8 EARLY CHRISTIAN MUSIC (Assyrians)
Page 36 and 37: 10 EARLY CHRISTIAN MUSIC The Syriac
Page 38 and 39: 12 EARLY CHRISTIAN MUSIC hymns were
Page 40 and 41: II (a) MUSIC OF THE EASTERN CHURCHE
Page 42 and 43: 16 MUSIC OF THE EASTERN CHURCHES th
Page 44 and 45: 18 MUSIC OF THE EASTERN CHURCHES st
Page 46 and 47: 20 MUSIC OF THE EASTERN CHURCHES Ch
Page 48 and 49: 22 MUSIC OF THE EASTERN CHURCHES ro
Page 50 and 51: 24 MUSIC OF THE EASTERN CHURCHES mo
Page 52 and 53: 26 MUSIC OF THE EASTERN CHURCHES (M
Page 54 and 55: 28 MUSIC OF THE EASTERN CHURCHES Th
Page 56 and 57: 30 MUSIC OF THE EASTERN CHURCHES tw
Page 58 and 59: 32 MUSIC OF THE EASTERN CHURCHES O)
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34 MUSIC OF THE EASTERN CHURCHES We
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36 MUSIC OF THE EASTERN CHURCHES Ow
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38 MUSIC OF THE EASTERN CHURCHES Th
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40 MUSIC OF THE EASTERN CHURCHES Th
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42 MUSIC OF THE EASTERN CHURCHES Mo
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44 MUSIC OF THE EASTERN CHURCHES of
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46 MUSIC OF THE EASTERN CHURCHES Mo
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48 MUSIC OF THE EASTERN CHURCHES we
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ETHIOPIAN MUSIC 49 tion where they
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ARMENIAN MUSIC 51 Armenian liturgy
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AN ARMENIAN HYMN BOOK WITH NEUMS Wr
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54 RUSSIAN CHANT it is therefore im
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DEVELOPMENT AND DECLINE 55 them the
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MANNER OF PERFORMANCE MANNER OF PER
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EARLIEST TRACES 59 used to pray and
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AMBROSIAN CHANT 61 other hand, Pete
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AMBROSIAN CHANT 63 contains the par
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; AMBROSIAN CHANT /Con-fi-te mUni D
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Ex. 17 (b) Antiphon AMBROSIAN CHANT
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AMBROSIAN CHANT 69 Lae- tis ca-na-m
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AMBROSIAN CHANT 71 antiphon, Sunol
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GALLICAN CHANT 73 was divided, litu
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GALLICAN CHANT 75 serving as a star
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GALLICAN CHANT 77 phons, which were
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GALLICAN CHANT 79 10. Antiphon of t
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GALLICAN CHANT 81 with the oriental
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MOZARABIC CHANT 83 (Our Father, who
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E Ex. 31 (b) MOZARABIC CHANT 85 te
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MOZARABIC CHANT 87 parce', &c.). Th
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Dei unigenitum, et ex Patre natum E
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MOZARABIC CHANT 91 to its close rel
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MUSICAL VALUE AND PRINCIPAL FEATURE
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FORMATION OF ROMAN LITURGICAL CHANT
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PERFECTION OF GREGORIAN CHANT 97 ve
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PERFECTION OF GREGORIAN CHANT 99 to
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DIFFUSION AND DECAY 101 its metrica
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MODERN RESTORATION 103 chief work o
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MODERN RESTORATION 105 of the Gradu
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SOURCES AND NOTATION 107 read, a si
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FAMILIES OF NEUMATIC NOTATIONS 1. N
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110 GREGORIAN CHANT as the forerunn
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112 GREGORIAN CHANT Final Range Dom
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114 GREGORIAN CHANT artistic resour
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116 GREGORIAN CHANT occurs it is de
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118 GREGORIAN CHANT o su - os, no l
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120 GREGORIAN CHANT florid, retains
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122 GREGORIAN CHANT r, %. a , me -
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124 GREGORIAN CHANT jubilus, or flo
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126 GREGORIAN CHANT etbe-ne-di- ctu
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V TROPE, SEQUENCE, AND CONDUCTUS TE
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130 TROPE, SEQUENCE, AND CONDUCTUS
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Page 178 and 179:
Ex. 47 contd. (Repetendd? et im - p
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or nos di - nes sup-plan te tuser-
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176 LITURGICAL DRAMA twenty-two exa
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178 LITURGICAL DRAMA From the two o
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vr**- THE EASTER SEPULCHRE DRAMA 17
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Ci- to e - un - -re-xit Do -mi - nu
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a note. The first part is lyrical T
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THE EASTER SEPULCHRE DRAMA 185 and
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Ex. 64 CO) UuT THE EASTER SEPULCHRE
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THE EASTER SEPULCHRE DRAMA 189 the
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Ex. 65 a) 6- e a V. PEREGRINUS PLAY
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PEREGR1NUS PLAYS 193 incredulity an
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PASSION PLAYS 195 in metrical form,
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CHRISTMAS PLAYS 197 manger, a tradi
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CHRISTMAS PLAYS 199 other extant Of
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CHRISTMAS PLAYS 201 Finally the Off
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CHRISTMAS PLAYS 203 main altar to t
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CHRISTMAS PLAYS 205 so long and unw
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SUNDRY RELIGIOUS PLAYS 207 Abelard,
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SUNDRY RELIGIOUS PLAYS 209 (Let us,
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SUNDRY RELIGIOUS PLAYS 211 these st
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Ex. 77 &0 ^ ^3F SUNDRY RELIGIOUS PL
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THE DANIEL PLAYS 215 or Darius, is
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THE DANIEL PLAYS 217 returns wholly
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Ex. 85 CO &- Et.8 5 (ii) THE DANIEL
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4|4rri "'" ift.'i. 1 Lfe'' ,'^iiiC,
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222 MEDIEVAL SONG express moral sen
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224 MEDIEVAL SONG narrative alterna
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226 MEDIEVAL SONG that the music is
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228 MEDIEVAL SONG and perfect notes
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230 MEDIEVAL SONG *J fliJ ^ son. Oi
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232 MEDIEVAL SONG (All my desire an
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234 MEDIEVAL SONG (la the year when
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236 MEDIEVAL SONG m i ^ Et la gen -
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238 Ex. roc 1 (PEDES) MEDIEVAL SONG
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(If by the power of mercy true love
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242 MEDIEVAL SONG E - y - a, 'E pir
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244 MEDIEVAL SONG (Clap your hands,
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246 MEDIEVAL SONG -a - mou-rat. Que
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248 MEDIEVAL SONG so good to hear a
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250 MEDIEVAL SONG that the Middle A
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252 MEDIEVAL SONG (The world's joy
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254 MEDIEVAL SONG dich be - hu - te
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256 MEDIEVAL SONG was ghe - stalt.
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258 MEDIEVAL SONG Ex. uo l Ey ichsa
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260 MEDIEVAL SONG structure by the
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262 EX. I2Q 1 J-. Ji J' J MEDIEVAL
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MEDIEVAL SONG Et du - rou as - si c
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266 MEDIEVAL SONG The tritone (F to
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268 MEDIEVAL SONG Ex.135 1 di - m -
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VIII THE BIRTH OF POLYPHONY By DOM
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272 THE BIRTH OF POLYPHONY prosody
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274 THE BIRTH OF POLYPHONY some of
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276 THE BIRTH OF POLYPHONY cymbals
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278 THE BIRTH OF POLYPHONY works ma
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280 THE BIRTH OF POLYPHONY occurred
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282 THE BIRTH OF POLYPHONY entire c
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284 THE BIRTH OF POLYPHONY 'i n i i
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286 THE BIRTH OF POLYPHONY instruct
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288 MUSIC IN THE TWELFTH CENTURY of
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290 MUSIC IN THE TWELFTH CENTURY gi
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292 MUSIC IN THE TWELFTH CENTURY Ne
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294 MUSIC IN THE TWELFTH CENTURY It
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296 MUSIC IN THE TWELFTH CENTURY TH
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298 MUSIC IN THE TWELFTH CENTURY th
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MUSIC IN THE TWELFTH CENTURY Rex im
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302 MUSIC IN THE TWELFTH CENTURY pa
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THREE-PART WRITING 303 Patrishumana
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THREE-PART WRITING 305 with six thi
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THREE-PART WRITING 307 One short ex
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*UT TUO PROPITIATUS pec - ca - tis
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X MUSIC IN FIXED RHYTHM By DOM ANSE
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PRELIMINARY REMARKS ON DATES AND DA
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THE GENERAL PICTURE 315 from which
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THE GENERAL PICTURE 317 key'. 1 Els
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THE RHYTHMIC MODES 319 are based fa
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THE RHYTHMIC MODES 321 The lower vo
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THE RHYTHMIC MODES 323 values were
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THE RHYTHMIC MODES 325 The falling
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THE CONDUCTUS 327 appears at the en
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THE CONDUCTUS 329 reality. The same
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Tort contd. THE CONDUCTUS 331
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THE CONDUCTUS 333 (Under the type o
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THE CONDUCTUS 335 Another tune, whe
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DANCE MUSIC THE CONDUCTUS There are
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DANCE MUSIC 339 Its position in the
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THE RELATIONSHIP OF THE INDIVIDUAL
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^ EARLY ENGLISH PART-SONGS s Je flo
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ORGANUM The appoggiatura formation
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ORGANUM 347 Perotin comes from Anon
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CLAUSULAE 349 also combinations of
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'ENGLISH DESCANT* 351 years no conf
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XI THE MOTET AND ALLIED FORMS By DO
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GENERAL CHARACTERISTICS 355 an inst
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THE ORIGINAL STRUCTURE OF THE MOTET
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TENOR THEMES 359 tions of the Grego
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'MANERE' the Gradual for the feast,
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'MANERE' 363 From the verse of the
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'MANERE' 365 The tenor melody is re
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-ri - a, ma-ter pi - a, stel - la m
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NOTATION 369 diamond shape for the
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MUSICA FICTA 371 scientific, and in
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MUSICA FICTA 373 Transcription and
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INTERCHANGE AND IMITATION 375 - am.
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INTERCHANGE AND IMITATION gnificat]
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LATER ARS ANTIQUA 379 evolving the
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MENSURAL NOTATION 381 tempus (later
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MENSURAL NOTATION 383 four or more
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TECHNICAL DEVELOPMENTS 385 ( x ) Te
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TECHNICAL DEVELOPMENTS 387 while th
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A doubt has been cast 1 HARMONY 389
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5-F In MS. ISORHYTHM 391 32 ^ m -bi
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Ex. 216 Veritatem ISORHYTHM 393 s ^
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ISORHYTHM 395 (Triplum: O Mary, vir
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ENGLISH MOTETS FOR FOUR VOICES * D
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HOCKET in va - cu- m is al-mis pre
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DUPLE TIME 401 val of nearly fifty
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'SUMER IS ICUMEN IN' 403 it is also
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BIBLIOGRAPHY GENERAL ADLER, GUIDO:
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BIBLIOGRAPHY 407 KIRCHHOFF, K.: Die
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BIBLIOGRAPHY PaUographie musicale,
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BIBLIOGRAPHY 411 MOBERG, C. A, : Vb
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(ii) Books and Articles BIBLIOGRAPH
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SOWA, HEINRICH: TextvariationenzurM
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BIBLIOGRAPHY 417 WOLF, JOHANNES: 'D
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Aristotle, 325, 372. Aries, 73, 74.
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Contakion, see Kontakion. Contrary
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Gnostics, 8. Godric, St., 251. Goli
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Leo the Great, Pope, 95, 119. Leo I
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Rome, Vatican Libr., Archives of St
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Pitch, 287, 293. Plainsong, 105. Ru
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Reinach, T., 5 nl . Reinmar von Zwe
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Timocles, 19. Tintern, 314. Tischle
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PRINTED IN GREAT BRITAIN AT THE UNI
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