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216 Bx. So (0 LITURGICAL DRAMA Ju-bi-le-rnus re-gi no-stro ma-gno ac po-ten-ti; Re-so-ne-mus lau-de di-gna vo-ce hi-*- com-pe-ten-ti. Ju - bi - le - mus re-gi no - stro ma - gno ac - po ten - 8 Re - so - ne - mus lau -de di - gna vo-ce com - pe- ten - ti. (Let us rejoice in our great and mighty king. Let us cry aloud his praiseworthy acts in a fitting voice.) As the text indicates, it is probable that the sounds of musical instru ments were heard in this scene. This full-throated chorus continues for four more verses. As the tumult ends there comes the dramatic moment of the appearance of * fingers of man's hand', writing on the wall. Urgently the King calls for his wise men and asks for an explana tion. They reply in repetitive musical phrases which seem exactly to suit the expression of their bewilderment. Then comes a messenger of the Queen and finally the Queen herself, advising that the aid of Daniel should be sought At the King's command the lords summon Daniel, in a strange mixture of tongues: Ex. 81 GO Ex-8i
THE DANIEL PLAYS 217 returns wholly to Latin. Daniel's long exposition, thirty lines of verse, is once more set in 'sequence' style, suited to a rapid recitative. On its conclusion the King, true to his word, orders that he shall be richly rewarded. The Queen then retires to another ringing chorus, seven repetitions of a two-phrase melody. The precious vessels are pre sented to Daniel, seated in honour near the King, and the scene closes with several stanzas in his praise. Whether these characters now withdraw is not clear, but the interest is suddenly switched to King Darius and his lords. The latter, led by a 'citharist', sing a long and vigorous chorus, beginning: Ex. 82 (i) E Ex. 8*
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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
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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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Page 202 and 203: 168 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: THE DANIEL PLAYS 215 or Darius, is
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
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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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