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Memory, Music, Epistemology, and the Emergence of Gregorian Chant As Corporate Knowledge

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Memory, Music, Epistemology, and the Emergence of Gregorian Chant As Corporate Knowledge University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 12-2012 "Sing to the Lord a new song": Memory, Music, Epistemology, and the Emergence of Gregorian Chant as Corporate Knowledge Jordan Timothy Ray Baker [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Epistemology Commons, Medieval Studies Commons, and the Musicology Commons Recommended Citation Baker, Jordan Timothy Ray, ""Sing to the Lord a new song": Memory, Music, Epistemology, and the Emergence of Gregorian Chant as Corporate Knowledge. " Master's Thesis, University of Tennessee, 2012. https://trace.tennessee.edu/utk_gradthes/1360 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Jordan Timothy Ray Baker entitled ""Sing to the Lord a new song": Memory, Music, Epistemology, and the Emergence of Gregorian Chant as Corporate Knowledge." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Rachel M. Golden, Major Professor We have read this thesis and recommend its acceptance: Leslie C. Gay, Allison S. Robbins Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) “Sing to the Lord a new song”: Memory, Music, Epistemology, and the Emergence of Gregorian Chant as Corporate Knowledge A Thesis Presented for the Master of Music Degree The University of Tennessee, Knoxville Jordan Timothy Ray Baker December 2012 ii Copyright © 2012 Jordan Timothy Ray Baker All Rights Reserved iii The only wisdom we can hope to acquire Is the wisdom of humility: humility is endless. ~ T.S. Eliot, “East Coker,” Four Quartets , line 98. 1 This thesis is dedicated to my beautiful wife, Shelby, my parents, Tim and Sharron, and my brother, Ethan. Without their loving support I never would have reached this point. 1 T. S. Eliot, "East Coker," in Four Quartets (New York: Harcourt, 1943), 27. iv Acknowledgments I would like to first express my sincerest thanks to Dr. Rachel Golden for being both an excellent teacher as well as a very wise guide for my time here as a graduate student in musicology. I wish to thank Dr. Mary Carruthers, whose scholarship has inspired much of my research, as well as the MARCO Institute for bringing her to speak at UT during a pivotal point in my academic career. Dr. Carruthers’s conversations with me during her visit did much to inspire my pursuit of this topic. Many thanks to Dr. Leslie Gay and Dr. Allison Robbins for serving on my committee as well as providing challenging courses in musicology and ethnomusicology; you have both shaped my academic, and personal, mindset for the better. I am truly indebted to the George F. DeVine Music Library and its excellent librarians and staff for providing the very best assistance in musicological research, a comfortable and productive study environment, as well as a friendly smile when I needed it most. A special thanks to Julie Bélanger Roy for her assistance in studying for the French language exam; without your help this project would have been stalled indefinitely. Finally, heartfelt thanks to both my Union friends and UT friends for all of their encouragement, support, advice, and antics. Your friendships have kept me sane, smiling, and hopeful even during difficult situations. I care for you all more than I can possibly write down. v Abstract Following the Christianization of the crumbling Roman Empire, a wide array of disparate Christian traditions arose. A confusion of liturgical rites and musical styles expressed the diversity of this nascent Christendom; however, it also exemplified a sometimes threatening disunity. Into this frame, the Carolingian Empire made a decisive choice. Charlemagne, with a desire to consolidate power, forged stronger bonds with Rome by transporting the liturgy of Rome to the Frankish North. The outcome of this transmission was the birth of a composite form of music exhibiting the liturgical properties of Rome but also shaped by the musical sensibilities of the Franks—Gregorian chant. This Frankish project of liturgical adoption and the appearance of Gregorian chant raises two important questions: How did the Carolingians transmit and incorporate Roman chant, and why did they feel drawn to this tradition in the first place? This thesis utilizes musicological studies by scholars like Leo Treitler and Anna Maria Busse Burger, epistemological arguments by analytic philosopher Richard Fumerton, and memorial scholarship by Mary Carruthers and Maurice Halbwachs to provide an analysis of Gregorian chant’s emergence. My investigation into the medieval art of memoria reveals that chant was transmitted through the use of the principles of music theory as mnemonic devices. Modal theory itself becomes a mnemonic by creating an abstract musical location in which the singer and listener can meet. Further, the impulse that drove this project was the desire for a collective memory that would resolve underlying tensions of group identity within 8 th - and 9 th -century early Christendom. This desire finds its resolution in modal theory itself because the musical location of chant is also a public location where corporate identity is articulated. Finally, I interpret both vi musical and memorial functions of chant via epistemic scholarship, showing that they both exhibit a remarkable structural similarity to the principles of acquaintance epistemology, thus unifying the questions of “how” and “why” in chant into a single answer. The quest for self- knowledge becomes part of the particular object used to make it—a material testament to a way of knowing. vii Table of Contents Chapter 1: Introduction: Chant and the Problem of Christian Identity ……………………. 1 Theory and Methodology………………………………………………………………………………...5 Literature Review……………………………………………………………………………………….10 Overview of Remaining Chapters ……………………………………..……………………………….18 Chapter 2: Creative Memory and Memorial Knowledge: Ars memoria , Collective Memory, and the Desire for Knowledge of Self …………………………………………………………21 The Art of Memory……………………………………………………………………………………..22 The History of Ars memoria: Ancient Techniques and Monastic Practice ……………….……...23 A Creative and Somatic Memory …………………………………………………………………29 Memory and Identity: Public, Private, and Collective………………………………………………….39 Conclusion………………………………….…………….……………………………………. 44 Chapter 3: Finding “A Place To Be”: Theory Treatises, Tonaries, and the Development of Musical Space …………………………………………………………………………………………..46 Medieval Modal Theory and Memorial Culture……………………………………………………….48 Ancient Greek Influence …………………………………………………………………………..50 Byzantine Influence ……………………………………………………………………………….57 A Frankish Synthesis... ……………………………………………………………………………64 Music Theory and Mnemonic Functionality... ……………………………………………………76 Tonaries and Textualization……………………………………………………………………………82 Mnemonic Textuality and Musical Notation …...…………………………………………………83 Tonaries, Florilegia, and the Purpose of Systemization ………………………………………….88 St. Riquier, Dijon, and the Witness of Unnotated Tonaries ………………………………………93 Theory and Tonaries: A Copious Mnemonic…………………………………………………………107 Chapter 4: Public Spaces and Musical Rites: Memory, Chant, and the Unity of Corporate Knowledge ………………………………………………………………………....………………..…110 viii Epistemology, Memory, and Corporate Knowledge…………………………………………………115 Conclusion……………………………………………………………………………...…………….118 Bibliography ………………………………………………………………………………….. 120 Vita……………………………………………………………………………………….…..... 130 ix List of Figures Figure 1. The Diatonic Pythagorean Tetrachord with Ratios and Modern Pitch Equivalents…... 56 Figure 2. Greater Perfect System as Presented by Boethius, with Modern Notation……………58 Figure 3. Lesser Perfect System as Presented by Boethius, with Modern Notation…………….. 59 Figure 4. The Enchiriadis System with Dasian Letters and Modern Notation………………….. 67 Figure 5. Alleluias in Dasian Notation as Presented in Musica Enchiriadis to Explain the Finals ……………………………………………………………………………………………………70 Figure 6. Hucbald’s use of Christus natus est to Describe the Intervals of a Modal Tetrachord ……………………………………………………………………………………………………73 Figure 7. Hucbald’s Five Tetrachord Scale System, with Variable Synemmenon Tetrachord ……………………………………………………………………………………………………75 Figure 8. St. Riquier Tonary Fragment, folio 167 r………………………………………………. 94 Figure 9. Dijon Tonary folio 105 r, Showing Offertories in the Authentic Protus Mode………... 99 Figure 10. Ascendit Deus in the Graduale Triplex ……………………………………………..105 1 Chapter 1 Introduction: Chant and the Problem of Christian Identity Their sound, because it is something perceived by the senses, vanishes as the moment passes and is imprinted in the memory . for unless sounds are held by the memory of man, they perish, because they cannot be written down. 2 ~ Isidore of Seville This famous quote from the 5 th -century scholar-bishop Isidore of Seville has often been used as a proof text for the lack of reliable and widespread musical notation in the early Christian Middle
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