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168 TROPE, SEQUENCE, AND CONDUCTUS GlQ-ri-a in ex- eel - sis De- o y Quern ci-ves cae-les-tes sanctum clamantes lau- de f re-quen-tantj Et in ter-ra pax ho -mi- ni-bus b o-nae vo- lun -ta~ tis, Quammi - ni-striDomi-ni ver- bo in- car- na- to ter-re-nis.promi-se-rant. Lau-damuste> Lau-di-buscujusas-trama-tu-ti-na in-sistunt.^-ne - di-ci-muste, Per quern o-rnne sa-crumet be-ne-dic-ti - o con-ce- di-tur at-que au-ge-tur. A -do- ra-mu$ te> - mni - po-tens a- do - ran - de, co-len - de, tre- men - de. ve-ne-ran-de. Gto-ri-fi- carmts te> Ut creatura creantenij plasma plasmantem, fi-gu-lurnfigmentum.6 I ra-ft'-fls a-gi-mus ti - \biproptermagnamgloriamtuam, J'J' Hymnurn majes-ta - tj , gra-ti - as su-tem pi - e - ta-t i fe - ren - tes, Do -m i- ne P P P ej fi-li u-ni - ge - ni-te \ . v k i . i ,Je-suChriste fl/-^*s-sz-7we,QuemJquisquisadorat in spi-ri-tu et ve-ri-ta-te, S E P ECtf'l' o - por-tet o - ra - re. Do-mi-ne De-uSj agnus De-i> fi- li - us pa~tris, wz* tol-lis pec-ca-to mundi, mi -se-TG-Te no-bis> Qui tol-lis pec-ca-ta mun-di^
TROPES OF THE FIRST PERIOD 169 su-sci-pe de-pre-ca-ti- o-nemno-stramtQuise-des ad dex-te-ram pa-tris t mi-se-re-re nd-bi$> Quo-ni-am tu so-lus sanctus, Tu so-lus Do-mi-nu$> Tu so-lusjal-tts-si-mustje-su Chri-ste, Qui ve-ni-sti, Je-su Chri-ste, et pre-ti - o - so san-gui-ne tu - o nos i;e- de - mi - sti. Cum sancto spi - ri - tu (Glory to God in the highest, to whom the citizens of Heaven, crying *Holy% ^ sing their praises ; and on earth peace to men ofgood will, which the angels of God had promised to those on earth when the Word was made flesh. We praise thee, whose praises the morning stars sing together. We bless thee, through whom every holy thing and every blessing is granted and increased. We worship thee, omni potent, worthy of worship, adoration, awe, and veneration. We glorify thee, as the creature glorifies its creator, the mould the moulder, the pot the potter. We give thanks to thee for thy great glory, offering a hymn to thy majesty, thanks to thy piety, O Lord God, heavenly King, God the Father almighty. Lord, the only be gotten Son, Jesus Christ most high, to whom every man should pray who worships thee in spirit and in truth. O Lord God, lamb of God, Son of the Father, that takest away the sins of the world, have mercy upon us, thou that takest away the sins of the world, receive our prayer, thou that sittest at the right hand of the Father, have mercy upon us. For thou only art holy, thou only art the Lord, thou only art the most high, Jesus Christ, who didst come, Jesus Christ, and redeem us with thy precious blood. With the Holy Ghost in the glory of God the Father, Amen.) The words ' Jesu Christe altissime' axe probably to be taken as the end of the preceding plainsong rather than as the opening of a section of the trope. This assumption is supported by the version given in two St. 1 Gall manuscripts, as well as by the fact that the word 'altissime' often occurs in Glorias as the only addition. In the St. Gall manu scripts the trope is written in rhythmical neums, and here, too, every section of the trope appears twice, first with words and then as a melisma. Another version, also rhythmical but more extended and without melismata is in a manuscript at Paris. 2 In this composition the sections of the trope are not in marked contrast to the plainsong, 1 St. Gall 484, p. 232; 381, p. 306. * Bibl. Nat. 1 1 18, fb. 4 V . Facsimile offo. 5 in Dom Jeannin, * Nuove osservazioni sulla ritmica gregoriana', in Santa Cecilia (1930). m
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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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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
Page 152 and 153: 118 GREGORIAN CHANT o su - os, no l
Page 154 and 155: 120 GREGORIAN CHANT florid, retains
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
Page 198 and 199: or nos di - nes sup-plan te tuser-
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
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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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