Untitled

More documents

Recommendations

Info

122 GREGORIAN CHANT r, %. a , me - us, ut quid me de-re-li-qui - sti?* Et inclinato ca pi-te, e-mi-sit 6- a a spi-ri - tum.^i Ex-cla-mans Jesus vo-cemagna,a -it: Pa - ter, tuas commendo spi - ri-tum me - um. Ex. 42 (b) * Et inclinato. ...etc. (as fares spiritum.> in manus Te-ne - brae fa - ctae sunt 4um cru-ci -fi -xis - sent Je - sum Ju- et cir ca ho ram no- us, ut et m-cli-tia- to ca quid me de-re, - r r r r r r Ex-cla vo - ce ma gqa
MUSICAL FORMS 123 commendo spi ri - turn me (Darkness fell when the Jews had crucified Jesus: and about the ninth hour Jesus cried out with a loud voice: 'My God, why hast thou forsaken me?' And having bowed his head, he gave up the ghost. Jesus crying with a loud voice, said: 'Father, into thy hands I commend my spirit.*) 3. The Alleluia and its verse. The Alleluia came into the Christian Church from the Temple and the Synagogue, and was in general use from the earliest times both in East and West. It was originally sung throughout the year, but Pope Damasus restricted it at Rome to the fifty days from Easter to Pentecost, and St. Gregory suppressed it for the season from Septuagesima till Easter. The melody of the Alleluia had already been much embellished by the sixth century; in Rome it had a distinctly oriental character. It has been said that in the begin ning the chanting of the Alleluia in the Mass consisted in singing the word 'Alleluia' with its wordless jubilus, and that later on, in the time of St. Gregory (others say in the ninth century), there was added the text of a verse, the better to impress on the mind the melodiae longissimae. But that does not correspond to the historical fact that in Rome even in ancient times, at least until the end of the fourth cen tury, the Alleluia was sung in the psalmody of the Mass as a responsorial chant. The soloist sang a verse, and the people or the choir responded with the refrain "Alleluia 5 . Now it is true that in the old manuscripts the Alleluia with thejubilus is copied without text (sequelae) and that in other manuscripts the verse of the psalm is not always uniform; but that does not mean that in ancient times they did not always add in the Mass a verse of the psalms sung by the soloist. 1 In old times the choice of the melody was left to the singer. For the most part the melodies are original, and the centonique method is not employed, though the * prototype' is sometimes found. Melodically it was the most artistic part of the Mass, but it is less florid than the chant of the Eastern, Ambrosian, or Mozarabic litur gies. Though it continued to be a solo chant, it acquired a responsorial form. Unlike the Gradual, it is frequently in the first or eighth modes ; the fifth and sixth are very seldom used. In most of the Alleluias the Cf. J. A. Jungmann, Missarum Solemnia, i (Vienna, 1948), pp. 525 ff.
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 10 and 11:
SACRED AND PROFANE MUSIC (St. John'
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)
Page 60 and 61:
34 MUSIC OF THE EASTERN CHURCHES We
Page 62 and 63:
36 MUSIC OF THE EASTERN CHURCHES Ow
Page 64 and 65:
Page 66 and 67:
Page 68 and 69:
42 MUSIC OF THE EASTERN CHURCHES Mo
Page 70 and 71:
44 MUSIC OF THE EASTERN CHURCHES of
Page 72 and 73:
46 MUSIC OF THE EASTERN CHURCHES Mo
Page 74 and 75:
48 MUSIC OF THE EASTERN CHURCHES we
Page 77 and 78:
ETHIOPIAN MUSIC 49 tion where they
Page 79 and 80:
ARMENIAN MUSIC 51 Armenian liturgy
Page 81:
AN ARMENIAN HYMN BOOK WITH NEUMS Wr
Page 84 and 85:
54 RUSSIAN CHANT it is therefore im
Page 87 and 88:
DEVELOPMENT AND DECLINE 55 them the
Page 89 and 90:
MANNER OF PERFORMANCE MANNER OF PER
Page 91 and 92:
EARLIEST TRACES 59 used to pray and
Page 93 and 94:
AMBROSIAN CHANT 61 other hand, Pete
Page 95 and 96:
AMBROSIAN CHANT 63 contains the par
Page 97 and 98:
; AMBROSIAN CHANT /Con-fi-te mUni D
Page 99 and 100:
Ex. 17 (b) Antiphon AMBROSIAN CHANT
Page 101 and 102:
AMBROSIAN CHANT 69 Lae- tis ca-na-m
Page 103 and 104:
AMBROSIAN CHANT 71 antiphon, Sunol
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 154 and 155: 120 GREGORIAN CHANT florid, retains
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
Page 198 and 199: or nos di - nes sup-plan te tuser-
Page 206 and 207:
172 TROPE, SEQUENCE, AND CONDUCTUS
Page 208 and 209:
174 TROPE, SEQUENCE, AND CONDUCTUS
Page 210 and 211:
176 LITURGICAL DRAMA twenty-two exa
Page 212 and 213:
178 LITURGICAL DRAMA From the two o
Page 215 and 216:
vr**- THE EASTER SEPULCHRE DRAMA 17
Page 217 and 218:
Ci- to e - un - -re-xit Do -mi - nu
Page 219 and 220:
a note. The first part is lyrical T
Page 221 and 222:
THE EASTER SEPULCHRE DRAMA 185 and
Page 223 and 224:
Ex. 64 CO) UuT THE EASTER SEPULCHRE
Page 225 and 226:
THE EASTER SEPULCHRE DRAMA 189 the
Page 227 and 228:
Ex. 65 a) 6- e a V. PEREGRINUS PLAY
Page 229 and 230:
PEREGR1NUS PLAYS 193 incredulity an
Page 231 and 232:
PASSION PLAYS 195 in metrical form,
Page 233 and 234:
CHRISTMAS PLAYS 197 manger, a tradi
Page 235 and 236:
CHRISTMAS PLAYS 199 other extant Of
Page 237 and 238:
CHRISTMAS PLAYS 201 Finally the Off
Page 239 and 240:
CHRISTMAS PLAYS 203 main altar to t
Page 241 and 242:
CHRISTMAS PLAYS 205 so long and unw
Page 243 and 244:
SUNDRY RELIGIOUS PLAYS 207 Abelard,
Page 245 and 246:
SUNDRY RELIGIOUS PLAYS 209 (Let us,
Page 247 and 248:
SUNDRY RELIGIOUS PLAYS 211 these st
Page 249 and 250:
Ex. 77 &0 ^ ^3F SUNDRY RELIGIOUS PL
Page 251 and 252:
THE DANIEL PLAYS 215 or Darius, is
Page 253 and 254:
THE DANIEL PLAYS 217 returns wholly
Page 255 and 256:
Ex. 85 CO &- Et.8 5 (ii) THE DANIEL
Page 258 and 259:
4|4rri "'" ift.'i. 1 Lfe'' ,'^iiiC,
Page 260 and 261:
222 MEDIEVAL SONG express moral sen
Page 262 and 263:
224 MEDIEVAL SONG narrative alterna
Page 264 and 265:
226 MEDIEVAL SONG that the music is
Page 266 and 267:
228 MEDIEVAL SONG and perfect notes
Page 268 and 269:
230 MEDIEVAL SONG *J fliJ ^ son. Oi
Page 270 and 271:
232 MEDIEVAL SONG (All my desire an
Page 272 and 273:
234 MEDIEVAL SONG (la the year when
Page 274 and 275:
236 MEDIEVAL SONG m i ^ Et la gen -
Page 276 and 277:
238 Ex. roc 1 (PEDES) MEDIEVAL SONG
Page 278 and 279:
(If by the power of mercy true love
Page 280 and 281:
242 MEDIEVAL SONG E - y - a, 'E pir
Page 282 and 283:
244 MEDIEVAL SONG (Clap your hands,
Page 284 and 285:
246 MEDIEVAL SONG -a - mou-rat. Que
Page 286 and 287:
248 MEDIEVAL SONG so good to hear a
Page 288 and 289:
250 MEDIEVAL SONG that the Middle A
Page 290 and 291:
252 MEDIEVAL SONG (The world's joy
Page 292 and 293:
254 MEDIEVAL SONG dich be - hu - te
Page 294 and 295:
256 MEDIEVAL SONG was ghe - stalt.
Page 296 and 297:
258 MEDIEVAL SONG Ex. uo l Ey ichsa
Page 298 and 299:
260 MEDIEVAL SONG structure by the
Page 300 and 301:
262 EX. I2Q 1 J-. Ji J' J MEDIEVAL
Page 302 and 303:
MEDIEVAL SONG Et du - rou as - si c
Page 304 and 305:
266 MEDIEVAL SONG The tritone (F to
Page 306 and 307:
268 MEDIEVAL SONG Ex.135 1 di - m -
Page 308 and 309:
VIII THE BIRTH OF POLYPHONY By DOM
Page 310 and 311:
272 THE BIRTH OF POLYPHONY prosody
Page 312 and 313:
274 THE BIRTH OF POLYPHONY some of
Page 314 and 315:
276 THE BIRTH OF POLYPHONY cymbals
Page 316 and 317:
278 THE BIRTH OF POLYPHONY works ma
Page 318 and 319:
280 THE BIRTH OF POLYPHONY occurred
Page 320 and 321:
282 THE BIRTH OF POLYPHONY entire c
Page 322 and 323:
284 THE BIRTH OF POLYPHONY 'i n i i
Page 324 and 325:
286 THE BIRTH OF POLYPHONY instruct
Page 326 and 327:
288 MUSIC IN THE TWELFTH CENTURY of
Page 328 and 329:
290 MUSIC IN THE TWELFTH CENTURY gi
Page 330 and 331:
292 MUSIC IN THE TWELFTH CENTURY Ne
Page 332 and 333:
294 MUSIC IN THE TWELFTH CENTURY It
Page 334 and 335:
296 MUSIC IN THE TWELFTH CENTURY TH
Page 336 and 337:
298 MUSIC IN THE TWELFTH CENTURY th
Page 338 and 339:
MUSIC IN THE TWELFTH CENTURY Rex im
Page 340:
302 MUSIC IN THE TWELFTH CENTURY pa
Page 343 and 344:
THREE-PART WRITING 303 Patrishumana
Page 345 and 346:
THREE-PART WRITING 305 with six thi
Page 347 and 348:
THREE-PART WRITING 307 One short ex
Page 349 and 350:
*UT TUO PROPITIATUS pec - ca - tis
Page 351 and 352:
X MUSIC IN FIXED RHYTHM By DOM ANSE
Page 353 and 354:
PRELIMINARY REMARKS ON DATES AND DA
Page 355 and 356:
THE GENERAL PICTURE 315 from which
Page 357 and 358:
THE GENERAL PICTURE 317 key'. 1 Els
Page 359 and 360:
THE RHYTHMIC MODES 319 are based fa
Page 361 and 362:
THE RHYTHMIC MODES 321 The lower vo
Page 363 and 364:
THE RHYTHMIC MODES 323 values were
Page 365 and 366:
THE RHYTHMIC MODES 325 The falling
Page 367 and 368:
THE CONDUCTUS 327 appears at the en
Page 369 and 370:
THE CONDUCTUS 329 reality. The same
Page 371 and 372:
Tort contd. THE CONDUCTUS 331
Page 373 and 374:
THE CONDUCTUS 333 (Under the type o
Page 375 and 376:
THE CONDUCTUS 335 Another tune, whe
Page 377 and 378:
DANCE MUSIC THE CONDUCTUS There are
Page 379 and 380:
DANCE MUSIC 339 Its position in the
Page 381 and 382:
THE RELATIONSHIP OF THE INDIVIDUAL
Page 383 and 384:
^ EARLY ENGLISH PART-SONGS s Je flo
Page 385 and 386:
ORGANUM The appoggiatura formation
Page 387 and 388:
ORGANUM 347 Perotin comes from Anon
Page 389 and 390:
CLAUSULAE 349 also combinations of
Page 391 and 392:
'ENGLISH DESCANT* 351 years no conf
Page 393 and 394:
XI THE MOTET AND ALLIED FORMS By DO
Page 395 and 396:
GENERAL CHARACTERISTICS 355 an inst
Page 397 and 398:
THE ORIGINAL STRUCTURE OF THE MOTET
Page 399 and 400:
TENOR THEMES 359 tions of the Grego
Page 401 and 402:
'MANERE' the Gradual for the feast,
Page 403 and 404:
'MANERE' 363 From the verse of the
Page 405 and 406:
'MANERE' 365 The tenor melody is re
Page 407 and 408:
-ri - a, ma-ter pi - a, stel - la m
Page 409 and 410:
NOTATION 369 diamond shape for the
Page 411 and 412:
MUSICA FICTA 371 scientific, and in
Page 413 and 414:
MUSICA FICTA 373 Transcription and
Page 415 and 416:
INTERCHANGE AND IMITATION 375 - am.
Page 417 and 418:
INTERCHANGE AND IMITATION gnificat]
Page 419 and 420:
LATER ARS ANTIQUA 379 evolving the
Page 421 and 422:
MENSURAL NOTATION 381 tempus (later
Page 423 and 424:
MENSURAL NOTATION 383 four or more
Page 425 and 426:
TECHNICAL DEVELOPMENTS 385 ( x ) Te
Page 427 and 428:
TECHNICAL DEVELOPMENTS 387 while th
Page 429 and 430:
A doubt has been cast 1 HARMONY 389
Page 431 and 432:
5-F In MS. ISORHYTHM 391 32 ^ m -bi
Page 433 and 434:
Ex. 216 Veritatem ISORHYTHM 393 s ^
Page 435 and 436:
ISORHYTHM 395 (Triplum: O Mary, vir
Page 437 and 438:
ENGLISH MOTETS FOR FOUR VOICES * D
Page 439 and 440:
HOCKET in va - cu- m is al-mis pre
Page 441 and 442:
DUPLE TIME 401 val of nearly fifty
Page 443 and 444:
'SUMER IS ICUMEN IN' 403 it is also
Page 445 and 446:
BIBLIOGRAPHY GENERAL ADLER, GUIDO:
Page 447 and 448:
BIBLIOGRAPHY 407 KIRCHHOFF, K.: Die
Page 449 and 450:
BIBLIOGRAPHY PaUographie musicale,
Page 451 and 452:
BIBLIOGRAPHY 411 MOBERG, C. A, : Vb
Page 453 and 454:
(ii) Books and Articles BIBLIOGRAPH
Page 455 and 456:
SOWA, HEINRICH: TextvariationenzurM
Page 457 and 458:
BIBLIOGRAPHY 417 WOLF, JOHANNES: 'D
Page 459 and 460:
Aristotle, 325, 372. Aries, 73, 74.
Page 461 and 462:
Contakion, see Kontakion. Contrary
Page 463 and 464:
Gnostics, 8. Godric, St., 251. Goli
Page 465 and 466:
Leo the Great, Pope, 95, 119. Leo I
Page 467 and 468:
Rome, Vatican Libr., Archives of St
Page 469 and 470:
Pitch, 287, 293. Plainsong, 105. Ru
Page 471 and 472:
Reinach, T., 5 nl . Reinmar von Zwe
Page 473 and 474:
Timocles, 19. Tintern, 314. Tischle
Page 475:
PRINTED IN GREAT BRITAIN AT THE UNI
show all

Untitled

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?