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26 MUSIC OF THE EASTERN CHURCHES (My soul, my soul arise; why steepest thou? The end is coming, and thou wilt be confounded. Be sober, that Christ the Lord may spare thee; for he is every where and filleth all things.) ec, foxy, TO reAos", /ecu ov 6 Kaipos avvrefAvet, SiavdarrjOi' 7Tt Qvpais 6 Kpirtfs eortv ovap,
THE POETICAL FORMS OF BYZANTINE HYMNOGRAPHY 27 of tonic accentuation can also be regarded as the basis of the metrical scheme. 1 Unlike Andrew of Crete, both John Damascene and Kosmas of Jerusalem were strong supporters of Orthodoxy. In his writings Against Heresies, in his Precise Exposition of the Orthodox Faith, and in his other treatises John Damascene laid a firm basis for Eastern theology, summarizing the doctrines of the Eastern Fathers of the Church, and putting them into a form which from his time onwards was considered authoritative. But he played an even more important of the Ortho part in his defence of Image-worship in the first phase dox Church's fight against the Iconoclast Emperors. His three Apologetic Discourses against those who reject the Holy Images (726- 30) had a great influence on the Eastern clergy and rallied them to resistance against the Emperor, whom they anathematized in 730. John Damascene's attitude in the iconoclastic controversy had far- reaching consequences. Owing to his authoritative position in the Eastern Church, both as theologian and as hymn-writer, it came about that Byzantine hymnographers were the strongest supporters of the Orthodox creed, and professed it in the face of defamation, torture, and death throughout the long period of the conflict until the final victory of the Image-worshippers in 843. Tradition attributes to John Damascene the introduction of the Oktoechos or eight-week cycles ofhymns composed in one ofthe eight modes. In the Byzantine Church the music of the hymns was collected in eight groups according to the mode in which it was composed. Each group, beginning at Easter with the hymns of the First Mode, was sung for a week, so that after a period of eight weeks the modal cycle was repeated with a fresh set of hymns. We now know that these cycles go back to Jewish tradition, 2 but John Damascene must have played an important part in building up the repertory, as in the manuscripts which contain the model stanzas, the heirmologia, the first of the melodies in each group of heirmoi is attributed to him, usually under the name 'John the Monk' ('Icoaw7]9 fw>mx
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 and 18: CONTENTS GENERAL INTRODUCTION V INT
Page 19 and 20: CONTENTS xi The Easter Sepulchre Dr
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 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
Page 68 and 69: 42 MUSIC OF THE EASTERN CHURCHES Mo
Page 70 and 71: 44 MUSIC OF THE EASTERN CHURCHES of
Page 72 and 73: 46 MUSIC OF THE EASTERN CHURCHES Mo
Page 74 and 75: 48 MUSIC OF THE EASTERN CHURCHES we
Page 77 and 78: ETHIOPIAN MUSIC 49 tion where they
Page 79 and 80: ARMENIAN MUSIC 51 Armenian liturgy
Page 81: AN ARMENIAN HYMN BOOK WITH NEUMS Wr
Page 84 and 85: 54 RUSSIAN CHANT it is therefore im
Page 87 and 88: DEVELOPMENT AND DECLINE 55 them the
Page 89 and 90: MANNER OF PERFORMANCE MANNER OF PER
Page 91 and 92: EARLIEST TRACES 59 used to pray and
Page 93 and 94: AMBROSIAN CHANT 61 other hand, Pete
Page 95 and 96: AMBROSIAN CHANT 63 contains the par
Page 97 and 98: ; AMBROSIAN CHANT /Con-fi-te mUni D
Page 99 and 100: Ex. 17 (b) Antiphon AMBROSIAN CHANT
Page 101 and 102: 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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