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120 GREGORIAN CHANT florid, retains the essential form of simple psalmody with its incipit, medial recitation and cadence, and final recitation and cadence, being thus reminiscent of synagogue psalmody. The most usual mode is the fifth: Ex. 4i(a)* C ' Christusfactusestprono- bis obe- di-ens us- que ad mor-tem, mor- tern au-tem cru-cis. Propter quod et Deus ex-alta-vit _ ___ 1 I 1 n t" ltVMh " ll ilium, quod est super o- mne no - men. Ex.4i(b) Chn - stus fac - tus est pro que ad mor - # Propter quod et De I et de-dit illi no- men, J J j .1 J J .1 J i no- -bis . di - ens us - tern, mor - temau - tern us ex-alta-vit il - lum, Graduate Vaticanum, p. 169.
MUSICAL FORMS 121 (Christ became obedient for us, even unto death, and that the death of the cross. Wherefore also God hath exalted him, and given unto him a name which is above every name.) Seventy out of the 160 contained in the Graduate Vaticanum are in this mode, while the eighth is used only three times. The chorus part is subdued in comparison with the solo verse, which is vivacious and extended in range: both parts usually end on the same final. 1 Graduals of the second mode have a special construction. 2. The Respond of the Office. Here we have to distinguish between the * Short Respond' and the 'prolix' or ' Greater Respond'. The text of the former is usually short, and its syllabic melody lies between the recitative and the antiphonal style. In the secular Antiphoner it is used only in the Lesser Hours, in the monastic at Vespers and Lauds alone. The melody of the Greater Respond takes the form ABA 1 distributed as follows: chorus A, verse 5, chorus A 1 (which is usually shorter than A). In actual practice responds have only one verse, though * Aspiciens a longe' and 'Libera me* have kept several verses. They are written mostly in the eighth, first, and seventh modes, and are not quite so florid as the Graduals : Ex. 42 (a)* Tenebr^ factae sunt dum crucifixissent Jesuin Ju dae i: et cir-ca ho-ramno *- nam excla-ma-vit Je - susvo-ce ma-gna:De- us 1 The Gradual 'Protector noster' is recorded in The History of Music in Sound, ii, side 5. 2 Officium majoris Hebdomadae, p. 378.
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780.9 N532 v.2 5^5385 780.9 1532 T2
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NEW OXFORD HISTORY OF MUSIC VOLUME
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SACRED AND PROFANE MUSIC (St. John'
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Oxford University Press, Amen House
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vi GENERAL INTRODUCTION music is no
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CONTENTS GENERAL INTRODUCTION V INT
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CONTENTS xi The Easter Sepulchre Dr
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ILLUSTRATIONS SACRED AND PROFANE MU
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xvi INTRODUCTION TO VOLUME II indee
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xviii INTRODUCTION TO VOLUME II Cor
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2 EARLY CHRISTIAN MUSIC so that the
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4 EARLY CHRISTIAN MUSIC c. 430); bu
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6 EARLY CHRISTIAN MUSIC liturgical
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8 EARLY CHRISTIAN MUSIC (Assyrians)
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10 EARLY CHRISTIAN MUSIC The Syriac
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12 EARLY CHRISTIAN MUSIC hymns were
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II (a) MUSIC OF THE EASTERN CHURCHE
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16 MUSIC OF THE EASTERN CHURCHES th
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18 MUSIC OF THE EASTERN CHURCHES st
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20 MUSIC OF THE EASTERN CHURCHES Ch
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22 MUSIC OF THE EASTERN CHURCHES ro
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24 MUSIC OF THE EASTERN CHURCHES mo
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26 MUSIC OF THE EASTERN CHURCHES (M
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28 MUSIC OF THE EASTERN CHURCHES Th
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30 MUSIC OF THE EASTERN CHURCHES tw
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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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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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Page 105 and 106: GALLICAN CHANT 73 was divided, litu
Page 107 and 108: GALLICAN CHANT 75 serving as a star
Page 109 and 110: GALLICAN CHANT 77 phons, which were
Page 111 and 112: GALLICAN CHANT 79 10. Antiphon of t
Page 113 and 114: GALLICAN CHANT 81 with the oriental
Page 115 and 116: MOZARABIC CHANT 83 (Our Father, who
Page 117 and 118: E Ex. 31 (b) MOZARABIC CHANT 85 te
Page 119 and 120: MOZARABIC CHANT 87 parce', &c.). Th
Page 121 and 122: Dei unigenitum, et ex Patre natum E
Page 123 and 124: MOZARABIC CHANT 91 to its close rel
Page 125 and 126: MUSICAL VALUE AND PRINCIPAL FEATURE
Page 127 and 128: FORMATION OF ROMAN LITURGICAL CHANT
Page 129 and 130: PERFECTION OF GREGORIAN CHANT 97 ve
Page 131 and 132: PERFECTION OF GREGORIAN CHANT 99 to
Page 133 and 134: DIFFUSION AND DECAY 101 its metrica
Page 135 and 136: MODERN RESTORATION 103 chief work o
Page 137 and 138: MODERN RESTORATION 105 of the Gradu
Page 139 and 140: SOURCES AND NOTATION 107 read, a si
Page 142 and 143: FAMILIES OF NEUMATIC NOTATIONS 1. N
Page 144 and 145: 110 GREGORIAN CHANT as the forerunn
Page 146 and 147: 112 GREGORIAN CHANT Final Range Dom
Page 148 and 149: 114 GREGORIAN CHANT artistic resour
Page 150 and 151: 116 GREGORIAN CHANT occurs it is de
Page 152 and 153: 118 GREGORIAN CHANT o su - os, no l
Page 156 and 157: 122 GREGORIAN CHANT r, %. a , me -
Page 158 and 159: 124 GREGORIAN CHANT jubilus, or flo
Page 160 and 161: 126 GREGORIAN CHANT etbe-ne-di- ctu
Page 162 and 163: V TROPE, SEQUENCE, AND CONDUCTUS TE
Page 164 and 165: 130 TROPE, SEQUENCE, AND CONDUCTUS
Page 178 and 179: Ex. 47 contd. (Repetendd? et im - p
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170 TROPE, SEQUENCE, AND CONDUCTUS
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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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