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CONTENTS Galilean Chant 72 (i) Historical Importance 72 (ii) Sources 74 (iii) Chants of the Mass 75 (iv) Chants of the Office 80 (v) Suppression of the Liturgy 81 Mozarabic Chant 81 (i) The Visigothic Period 81 (ii) Sources 83 (iii) Notation 84 (iv) Musical Forms of the Liturgy 84 (v) Character of the Original Music 89 (vi) Abolition of the Liturgy 90 IV. GREGORIAN CHANT. By HIGINI ANGLES 92 Musical Value and Principal Features 92 Formation of Roman Liturgical Chant 94 Perfection of Gregorian Chant 96 Diffusion and Decay 99 Modern Restoration 102 Sources and Notation 105 Melodic Types and Tonality 109 Musical Forms 112 V. TROPE, SEQUENCE, AND CONDUCTUS. By JACQUES HANDSCHIN, Professor of Musicology, University of Basle 128 Terminology 128 Origins 130 Prototypes in Ambrosian Chant 131 Prototypes at Nonantola 136 Gallican Prototypes 138 Roman Prototypes 139 General Historical Situation (c. 800) 140 Adaptation of Texts 146 Historical Position of the Trope and Sequence 148 Early Sources 152 An Example of the Sequence 154 Music and Text 1 55 Changes of Style \ 50 Tropes of the First Period 1 55 Tropes of the Second Period 171 The Conductus 1 7j I. LITURGICAL DRAMA. By w. L. SMOLDON 175 General History 1 75
CONTENTS xi The Easter Sepulchre Drama 177 (i) First Stage 177 (ii) Second Stage 184 (iii) Third Stage 185 Peregrinus Plays Passion Plays Christmas Plays Sundry Religious Plays The Daniel Plays VII. MEDIEVAL SONG. By J. A. WESTRUP, Professor of Music, University of Oxford Latin Secular Songs 220 Chansons de Geste 222 Troubadours and Trouveres 224 190 193 195 205 213 220 (i) Background 224 (ii) Notation and Performance 225 (iii) Tonality 229 (iv) Structure 233 (v) Songs with Refrains 241 (vi) Lais 247 English Songs Minnesinger 250 252 (i) Notation and Structure 252 (ii) Influences 256 (iii) Melodic Formulas 259 Spanish Monody Laudi Spirituali VIII. THE BIRTH OF POLYPHONY. By Dom ANSELM HUGHES 270 Earliest References Processes of Reconstruction Theories about the Origin of Harmony First Written Records Guido's Micrologus Early Examples of Polyphony Cotton and the Ambrosiana Treatise % IX. MUSIC IN THE TWELFTH CENTURY. By Dom ANSELM HUGHES New Conditions Sources of the Period The Calixtine Manuscript Notation and the Staff Types of Hexachord 292 260 266 270 274 275 276 279 280 285 287 287 287 288 290
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: CONTENTS GENERAL INTRODUCTION V INT
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
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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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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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