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386 W37 Ex.209 1 THE MOTET AND ALLIED FORMS Manere m -vis S il co - vient des - se - vrer De voz j. i J' -rai sanz vos du - rer? On-ques n'a-mai fors r' r' spi Ex. 2io s * ri^-tu - ^in conspec-tu a-li - bus gen - ti - ^ et pi' - etc. etc. etc. lau-di - bus as - si - du - 1 Montpellier, fo. 209 V ; Rokseth, op. cit. ii, p. 284. 2 Worcester Mediceval Harmonyt p. 77. etc. etc.
TECHNICAL DEVELOPMENTS 387 while the following striking quotation shows how firmly the contra puntal idea has been grasped: HARMONY El. 2II 1 [Kyrieleysonj n'on-ques ne cuer pi - s ^=fr 20 vi prent, Vo - The question of progression from chord to chord is one which does not seem to have aroused very great interest in the mind of the thir teenth-century composer/But we do find one very early enunciation of the classical doctrine about consecutive intervals, in the anonymous thirteenth-century French Tractatus de Discantu from St. Victor: Et ne doilt on point fake ne dire ij quintes ne deulx doubles, Tune apres 1'autre, ne monter ne descendre avec sa teneur, car ils sont : parfais mais pax acors imparfais, tierces et sixtes, peut-on bien monter ou descendre ij ou iij notes ou plus ce besoing est.2 (And one should on no account have two fifths or two octaves one after the other, rising or falling with the tenor, for they are perfect intervals : but one may quite well rise or fall two or three notes, or more if need be, by way of the im perfect concords, the thirds and sixths.) These prohibitions, however, are either unknown to, or ignored by, the vast majority of writers in the period. Such avoidance of the con secutive progressions as they practise would seem to be due to artistic insight rather than to any reverence for regulations. As an example of this avoidance, in the early dawn of our present period, folios 179 V to 182 V of Wolfenbiittel 677 would repay study. Contrast of unison and harmony would be a commonplace with choirs where the antiphony passed back and forth from the main body singing in plainchant f etc. etc. c ' to a semi-chorus of organizers' or discanters '. 3 rare: Emphasis by an occasional passage of unison is very 1 Montpellier, fo. 123 V ; Rokseth, op. cit. ii, p. 176. 2 Coussemaker, Scriptores, iii, p. 497. 8 Brit. Mus. Burney 357, fo. 16.
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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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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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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: TECHNICAL DEVELOPMENTS 385 ( x ) Te
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
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