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376 THE MOTET AND ALLIED FORMS lowest line, a customary way of writing the initial syllable of a text which was to be preceded by a long introduction: Rex ser - vos s& mi P tu - os li-be-ra a ma-lis. ^ser - vos (Fragrant rose, flower of spring, deliver thy servants from evil.) 50 ^ ^ tu - os Ex. 204 shows three short early instances of imitation, the third exhibiting in its last three measures a further example of interchange : te - re 1 Oxford, Corpus Christi CoU. 489, No. 9. Recorded in The History ofMusic in Sound, ii, side 20. 2 (a) Wolfenbuttel 677, fo. 126 V ; (6) Florence, Bibl. Laur. plut xxix, 1, fo. 204; (c) Wolfenbuttel 677, fo. 120*.
INTERCHANGE AND IMITATION gnificat] These short passages are not long enough to be dignified by the name of canon. But a fragmentary fly-leaf in Oxford1 has recently yielded up what certainly looks like a genuine example of canon: I Clefs I conjectural r"i I i Ex. 205 LATER ARS ANTIQUA i pi - en ti - sa - pi - en - 377 etc. quae- (MS.defecttve) We have now reached the climax of the ars antiqua. This term is used here and elsewhere in this volume for the sake of convenience. Merton ColL MS. 248.
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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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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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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
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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: INTERCHANGE AND IMITATION 375 - am.
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
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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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