DOCSLIB.ORG

MICROTONES ACCORDING to AUGUSTINE Volume I Text Leo A. J. Lousberg

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

MICROTONES ACCORDING TO AUGUSTINE NEUMES, SEMIOTICS AND RHETORIC IN ROMANO-FRANKISH LITURGICAL CHANT Volume I Text Leo A. J. Lousberg For my grandchildren Cover: Saint Augustine (aquarelle by Carlo Tabanelli, end of 19th century. After the 6th- century fresco from the Basilica of St. John Lateran, Rome). Collection Kunsthistorisch Instituut Universiteit Utrecht. Copyright © 2018 Leo Lousberg, Doorn, The Netherlands. ISBN/EAN: 978-90-829086-0-2 MICROTONES ACCORDING TO AUGUSTINE NEUMES, SEMIOTICS AND RHETORIC IN ROMANO-FRANKISH LITURGICAL CHANT MICROTONEN VOLGENS AUGUSTINUS NEUMEN, SEMIOTIEK EN RETORIEK IN ROMANO-FRANKISCHE LITURGISCHE GEZANGEN (met een samenvatting in het Nederlands) PROEFSCHRIFT ter verkrijging van de graad van doctor aan de Universiteit Utrecht op gezag van de rector magnificus, prof. dr. H.R.B.M. Kummeling, ingevolge het besluit van het college voor promoties in het openbaar te verdedigen op woensdag 26 september 2018 des middags te 4.15 uur door Leo André Jacques Lousberg geboren op 24 mei 1950 te Maastricht Promotoren: Prof. dr. A.A. Clement Prof. dr. S. Kloeckner Copromotor: Dr. A.M.J. Zijlstra CONTENTS VOLUME I PREFACE 11 ABBREVIATIONS 13 PRELIMINARY REMARKS ON TRANSCRIPTIONS 15 INTRODUCTION 17 CHAPTER I THE REVALUATION OF A LOST PERFORMANCE TRADITION 29 I.1. The Tonary of Saint Bénigne de Dijon 29 I.2. 'Diastematic' and 'Adiastematic' Notation 31 I.3. The Meaning of the Special Signs 33 I.4. The Monochord 49 I.5. Contemporaneous Reception 52 I.6. Definitions of Medieval Microtonality 58 I.7. The Functions of the Special Signs 63 CHAPTER II EXPLORATORY ANALYSIS 69 II.1. First Findings 70 II.2. The System 74 II.3. Rhetoric 76 II.3.1. The Five Rhetorical Canons 79 II.3.2. Memory 81 II.3.3. Style 84 II.4. The Rhetorical Triggers of Microtones 84 II.5. Some Aggregated Data from the Sample 99 II.6. An Excursus to the Microtonal Inflections and Chromatic Alterations in the Office 102 CHAPTER III A SEMIOTIC APPROACH TO MICROTONAL INFLECTIONS 111 III.1. Models of Text and Meaning 111 III.2. Semiotics 119 III.3. A Semiotic Approach of Word – Melody Relations in Romano-Frankish Liturgical Chant 123 III.4. Qualities of Being Related to Microtonal Inflections 126 III.5. The Microtonal-Rhetorical Model from a Semiotic Perspective 135 III.6. Pragmatic Considerations 142 III.7. The Microtonal Inflection as a Semiotic Parapitch 144 CHAPTER IV THE MUSICAL GRAMMAR OF MUSEMES: RULES AND TRANSMISSION 149 IV.1. Microtonal Inflections in the Second Mode Tractus 152 IV.2. The Melodic Grammar of Microtonal Inflections in Second-Mode Tractus 161 IV.3. A Comparison of Emphatic Phrases and Microtonal Inflections 165 IV.4. The S-files: Non-Diatonic Traditions in the Utrecht Office 169 IV.5. Melodic ‘Othernesses’ as Musemes 172 IV.6. Musemes and Transmission 184 CONCLUDING REMARKS 193 SAMENVATTING 199 CURRICULUM VITAE 203 BIBLIOGRAPHY 205 TABLES Table I.1. Diagram with possible constellations of genera intervals in the tetrachord 35 Table II.1. The sample of microtonal inflections 73 Table II.2. The first result of the exploratory analysis 74 Table II.3. A summary of the employment of microtonal inflections per manuscript 98 Table II.4. Average number of words with microtonal inflections per verse per genre 99 Table II.5. Chants with the letter ‘s’ in Ult2 106 Table II.6. The letter ‘s’ in melodic formulas 107 Table IV.1. Hornby’s emphatic labels 158 Table IV.2. The aggregated results of the analysis 161 Table IV.3. ‘Shifting’ microtonal inflections and diatonic melody 165 Table IV.4. Accentuations by emphatic phrases and microtonal inflections 167 Table IV.5. Accentuations, diachronic 167 FIGURES Fig. I.1. The letter notation and the special signs 30 Fig. I.2. Dij PM 8, 301, Ego autem sum vermis with three special signs 30 Fig. I.3. The intervals of the three Greek genera 36 Fig. I.4. Example of a special sign in Clu, 28r: adapted clivis (twice) 42 Fig. I.5. Clivis, micro-clivis, franculus (Ult1) 43 Fig. I.6. Dij, PM 8, 160. Tibi domine: adiutor 44 Fig. I.7. Hansen 1974, 247. Tibi domine: adiutor 44 Fig. I.8. SBB mgq 1005. Fly-leaf 46 Fig. I.9a. UU-Hss, Fragment 4.3A(1)v. Fragment from an Antiphonary 46 Fig. I.9b. Ult1, 45v Missal ABM h 62 47 Fig. I.9c. Ult2, 14v Antiphonary U 406 47 Fig. I.9d. SBB mgq 1005r Fly-leaf 47 Fig. I.10. Map showing locations with sources in which microtones are calculated 51 Fig. II.1. Ferreira Annex 2 (2004), n.p.: Introit Dum clamarem 73 Fig. II.2. A record from the explanatory analysis 77 Fig. II.3. Clu, 35v Confitemini: Type 1 inflection 82 Fig. II.4. Clu, 53r Improprium expectavit: Type 2 inflection 82 Fig. II.5/6. Ult 1, 52r De necessitatibus. Two microtonal torculi, whole tone clivis 83 Fig. II.7. Rhetorical triggers per manuscript, absolute numbers 99 Fig. II.8. Rhetorical triggers per manuscript, % 100 Fig. II.9. Ult2, 172r Cumque discederet vir, Lamberti 103 Fig. II.10. Ult2, 33r with high s 104 Fig. II.11. Ult2, 50v with low s 104 Fig. III.1. The essence of Peirce’s triad 124 Fig. III.2. The qualities of the elements in Peirce’s model 126 Fig. III.3. Peirce’s Triad in the present context: the auctor 135 Fig. III.4. Pearce’s triad in the present context: the audience 136 Fig. III.5. Philip Tagg: Figure 5-4, 2013, 174 143 Fig. IV.1. The basic structure of second-mode tractus 154 Fig. IV.2. The functional analysis of microtonal inflections, second-mode tractus 159 Fig. IV.3. The distribution of triggers 161 Fig. IV.4. The analysis of melodic grammar: Deus deus meus 164 Fig. IV.5. Emphatic phrases and microtonal inflections: Example 4.01. 166 Fig. IV.6. Microtones: shifts in rhetorical categories 169 Fig. IV.7. The Scolica Enchiriadis tone system 170 Fig. IV.8. Five settings of the communion Beatus servus 177 Fig. IV.9. Beatus servus (1) 178 Fig. IV.10. Microtones and sharps in Beatus servus, vigilantem 179 Fig. IV.11. Microtones and sharps in Beatus servus, vobis 180 Fig. IV.12. Sta 195v Beatus servus, constituet 181 Fig. IV.13. Dum medium silentium, transcription from Ult2, 22r; Sta 45r identical 184 Fig. IV.14. Musemes categorised 185 Fig. IV.15. Musemes: the rhetorical elements and musical tools in Romano- 190 Frankish chant VOLUME II APPENDICES APPENDIX I Christian Meyer, Mensura Monochordi, A Summary 7 APPENDIX II Innsbruck Universitätsbibliothek MS 144, f. 5rb, 5va. 13 APPENDIX III The Sources 17 APPENDIX IV The Notation 21 APPENDIX V Exploratory Analysis 25 APPENDIX VI The S-Files in Ult2 76 APPENDIX VII The Microtonal Inflections in Second-Mode Tractus 111 APPENDIX VIII Dum medium silentium 221 The appendices in searcheable PDF format with links to the pages of the sources consulted can be found at http://bit.ly/2Mj3HOt Or contact me via [email protected] PREFACE In October 2012, Dr. Bart Jaski, keeper of manuscripts at the Utrecht University Library handed me a box with some twenty notated fragments, explaining: “We do not know exactly what they are, Ike de Loos had a look at them some time ago.” Fulfilling the requirements for a course in palaeography, the following months were spent in the icy reading room of the Special Collections Department deciphering the parchment folios, some of them so faded that the letters and the notation were barely readable. At the time, I had no idea that these dusty parchments would bring me into contact with aspects of a medieval cultural tradition that would fascinate me so much that I would decide to write my doctoral thesis on the topic. As it turned out, these fragments belonged to an Antiphonary written in the Utrecht Benedictine Abbey dedicated to St. Paul, somewhere between c1100 and c1125. The notation consists of neumes on a four-line staff. Comparing neumes, notes and images, it soon appeared that some adapted clives were identical with clives in the Utrecht Antiphonary U 406 (labelled Ult2 here). Ike de Loos identified these adapted neumes as representing quartertones, while preparing her doctoral thesis at the same university. Quartertones or microtones can be defined as intervals smaller than a semitone. As an amateur pianist, I had never even thought about pitches in terms other than the white and black keys of the keyboard. I could only assume that the sounds associated with them resembled those of an old 78 rpm recording of Umm Kulthum, once found in my grandparents’ loft. How it got there is a musical mystery for my family, since they preferred the Strauss family and Jacques Offenbach. What puzzled me even more though was that Umm Kulthum is considered an icon of a recent oriental song culture, which in my eyes was difficult to match with what the monks sang in Utrecht, roughly a thousand years ago. Now, five years later, these observations can be put into (a new) context as will be explained below in the Introduction. The excellent guidance and the inspiring comments by my PhD supervisors, Prof. dr. Albert Clement, Prof. dr. Stefan Kloeckner (promotores), and Dr. Marcel Zijlstra (co- promotor) were essential to the success of this project. Dr. Manuel Pedro Ferreira shared his knowledge about microtones with me and provided me with research material from his doctoral dissertation written twenty years ago about the same subject. I also wish to thank Prof. dr. Erik Kwakkel for his palaeographical advice about the sources consulted and Prof. dr. Els Rose, who scraped away some rusty layers of my Latin.
Recommended publications
  • An Overview of Russia's Late Mediaeval Musical

    An Overview of Russia's Late Mediaeval Musical

    Journal of the International Society for Orthodox Church Music Vol. 4 (1), Section II: Conference papers, pp. 183–197 ISSN 2342-1258 https://journal.fi/jisocm An Overview of Russia’s Late Mediaeval Musical Culture, and the “New Repertoires”: Demestvenny, Put and Strochnóe Singing and Notations Nikita Simmons [email protected] Part I. Znamenny Chant and Stolp Notation1 In the primary tradition of Znamenny singing, almost all chant books of the Russian liturgical tradition used Stolp (Znamenny) notation. The Slavonic word stolp (pillar) describes the eight-week cycle of the Octoechos, while the Slavonic term znamya means “mark”, “note”, or “neume”. Slavic Stolp notation (along with early chant repertoire) has been in use since the tenth century (having been derived from Coislin B Palaeobyzantine notation), and in its latest stage of development it is still used by Russian Old Ritualists up to the present time. Beyond the basic level of neume-by-neume notation, Stolp chanting includes three methods of presenting complex melodic features: popévki, litsá and fíty, each of which were traditionally memorized by singers. (Popévki, also called kokízy2, are established sequences of neumes which are the essential “building blocks” of Znamenny chants, while litsa and fity are more lengthy and complex melodic patterns.) These contextual groups of symbols are usually referred to as “múdrye stróki” (“wise lines” or short- hand), indicating the use of “tainozamknénnost” (“secret-closure” or encryption). Stolp chanting, like its Byzantine parent, is organized according to the system of eight Tones, and each Tone (Slavonic: glas) contains a repertoire of popevki, fity and 1 Among the ranks of musicologists who have contributed significantly to the recovery of Russia’s late medieval musical traditions, we are most indebted to М.В.
  • User Manual ROCS Show|Ready User Manual © 2015 - Right on Cue Services

    User Manual ROCS Show|Ready User Manual © 2015 - Right on Cue Services

    User Manual ROCS Show|Ready User Manual © 2015 - Right On Cue Services. All Rights Reserved Jonathan Pace, David McDougal, Dave McDougal Jr., Jameson McDougal, Andrew Pulley, Jeremy Showgren, Frank Davis, Chris Hales, John Schmidt, Woody Thrower Documentation written by Andrew Pulley. ROCS Show|Ready Build 1.2.5-build-42 REV A Right On Cue Services 4626 N 300 W - Suite 180 801-960-1111 [email protected] 10 9 8 7 6 5 4 3 2 1 Show|Ready User Manual | III Contents 1 Downloading your Licensed Show 1 Upon Starting the Program . 1 Cast Authorization . 1 Director Authorization . 1 2 Introduction to Show|Ready 2 The Interface - Main Window . 2 Transport . 3 Temporary Editing . 4 Song List . 4 Timeline . 5 Marker List . 6 Mixer . 6 Change Log . 7 The Interface - Score View . 8 3 Navigation and Editing 9 Navigation . 9 Go to Bar . 9 Pre Roll . 9 Escape Vamps and Caesuras, and Jump with Fermatas . 9 Editing . 10 Timeline Selection . 10 Making Cuts and Adding Fermatas . 10 Vamps, Repeats, Transpositions, Markers, and Click Resolution . 11 Sending changes to the cast . 11 Returning to Previous Change Logs . 11 iv | Table of Contents High-Resolution Editing . 11 4 Keyboard Shortcuts 12 Mac . 12 Windows . 12 5 Frequently Asked Questions 13 Show|Ready User Manual | 1 Downloading your Licensed Show 1Thank you for using Show|Ready. We’ve worked the dialog box labeled, “Cast Member Authorization tirelessly for the past several years developing the Code,” and click, “Activate Show.” The show will then technology you are using today, and taken even more begin to download and open to the main window.
  • From Neumes to Notation: a Thousand Years of Passing on the Music by Charric Van Der Vliet

    From Neumes to Notation: a Thousand Years of Passing on the Music by Charric Van Der Vliet

    From Neumes to Notation: A Thousand Years of Passing On the Music by Charric Van der Vliet Classical musicians, in the terminology of the 17th and 18th century musical historians, like to sneer at earlier music as "primitive", "rough", or "uncouth". The fact of the matter is that during the thousand years from 450 AD to about 1450 AD, Western Civilization went from no recording of music at all to a fully formed method of passing on the most intricate polyphony. That is no small achievement. It's attractive, I suppose, to assume the unthinking and barbaric nature of our ancestors, since it implies a certain smugness about "how far we've come." I've always thought that painting your ancestors as stupid was insulting both to them and to yourself. The barest outline of a thousand year journey only hints at the difficulties our medieval ancestors had to face to be musical. This is an attempt at sketching that outline. Each of the sub-headings of this lecture contains material for lifetimes of musical study. It is hoped that outlining this territory may help shape where your own interests will ultimately lie. Neumes: In the beginning, choristers needed reminders as to which way notes went. "That fifth note goes DOWN, George!" This situation was remedied by noting when the movement happened and what direction, above the text, with wavy lines. "Neume" was the adopted term for this. It's a Middle English corruption of the Greek word for breath, "pneuma." Then, to specify note's exact pitch was the next innovation.
  • BASICS of CONDUCTING Bert Appermont

    BASICS of CONDUCTING Bert Appermont

    BASICS OF CONDUCTING Bert Appermont 1) Movement - Body and shoulders relaxed - Small opening between the legs - Swinging with the right arm => pulse (like a clock) - Elbow stays almost motionless 2) Meters 2/4 3/4 4/4 3) Downbeat and upbeat 4) Tempo Changes Look for the relation between the two tempo’s 5) Fermata 1. Conduct with stop 2. Conduct with caesura 3. Conduct fermata followed by a rest (without and with tempo change) 6) Ternary Meters - The curves are similar than (2) - The swing movements are bigger (always with pulsation) - Practice 6/8, 9/8 and 12/8 7) Conducting musical character a. Legato: use a more indirect and “wider” curve b. Staccato / leggiero: use the wrist and the top of the baguette), small movement c. Marcato => give an accent by making the pulsation more active => use the elbows (width) to create space in the sound 8) Conducting dynamics f => big gesture p => small gesture mf => normal gesture fp => give an accentuation and suddenly pull back => gesture gradually becomes bigger => gesture gradually becomes smaller 9) Irregular meters 5/8 7/8 + 8/8 10/8 + 11/8 10) Meter changes Exercises: Conduct the following meters 1. 3/4 + 2/4 and 4/4 + 3/4 2. 6/8 + 3/4 and 6/8 + 2/4 3. 9/8 + 3/4 and 9/8 + 2/4 4. 9/8 + 3/4 and 9/8 + 2/4 5. 7/8 (2+2+3) + 5/8 (3+2) and 7/8 (2+2+3) + 6/8 6. 2/8 + 3/8 + 4/8 + 5/8 + 6/8 + 7/8 + 8/8 + 9/8 + 10/8 + 11/8 + 12/8 (and backwards) 11) Using the left hand - to indicate the start of one instrument or instrumental group - to indicate a musical idea: conduct a crescendo or diminuendo; conduct the phrase; point out an accentuation; Exercise 1: conduct 4/4 in the R.H., give a starting signal with the right hand on the 4 different beats Exercise 2: conduct 4/4 in the R.H., conduct one bar crescendo and one bar dim.
  • Plainchant Tradition*

    Plainchant Tradition*

    Some Observations on the "Germanic" Plainchant Tradition* By Alexander Blachly Anyone examining the various notational systems according to which medieval scribes committed the plainchant repertory to written form must be impressed both by the obvious relatedness of the systems and by their differences. There are three main categories: the neumatic notations from the ninth, tenth, and eleventh centuries (written without a staff and incapable, therefore, of indicating precise pitches);1 the quadratic nota­ tion in use in Italy, Spain, France, and England-the "Romanic" lands­ from the twelfth century on (this is the "traditional" plainchant notation, written usually on a four-line staff and found also in most twentieth­ century printed books, e.g., Liber usualis, Antiphonale monasticum, Graduale Romanum); and the several types of Germanic notation that use a staff but retain many of the features of their neumatic ancestors. The second and third categories descended from the first. The staffless neumatic notations that transmit the Gregorian repertory in ninth-, tenth-, and eleventh-century sources, though unlike one another in some important respects, have long been recognized as transmitting the same corpus of melodies. Indeed, the high degree of concordance between manuscripts that are widely separated by time and place is one of the most remarkable aspects the plainchant tradition. As the oldest method of notating chant we know,2 neumatic notation compels detailed study; and the degree to which the neumatic manuscripts agree not only • I would like to thank Kenneth Levy, Alejandro Plan chart, and Norman Smith for reading this article prior to publication and for making useful suggestions for its improve­ ment.
  • SEMIOLOGY and the INTERPRETATION of GREGORIAN CHANT (This Article Was Published in Divini Citltit* Splanion

    SEMIOLOGY and the INTERPRETATION of GREGORIAN CHANT (This Article Was Published in Divini Citltit* Splanion

    I he Ntivc, Looking ta>\. SEMIOLOGY AND THE INTERPRETATION OF GREGORIAN CHANT (This article was published in Divini Citltit* Splanion. a Fe^kilirift prepared in honor of Joseph Lennards of the Netherlands on the occasion of his eightieth birthday. Mr. Lennards has devoted his life to the study of Gregorian chant and its teaching through the Ward method. The translation from the French was made by Virginia A. Schubert.) It is fitting to honor a recognized Gregorianist like Joseph Lennards, enthusiastic disciple of Dom Andre Mocquereau, with a discussion of the ideal of the founder of the school of Solesmes. This ideal was proclaimed throughout a long scientific and artistic career which began when a young monk of Solesmes undertook a study of chant more by duty than by choice, and consequently came to realize its incomparable value. Thus, beginning with the general introduction to La Palcographic mu>kalc of 1889 and continuing to the Monographic Crc'gorknnc 17/, written in 1926 to refute Dom Jeannin's theory of dividing chant into measures, one finds different formulations of the same very clear affirmation: "It is in the great variety of notations of neums that one must seek the light on every aspect of Gregorian chant." (Patiogriiphic niu^iuilt, XI, p. 19) The path was thus laid out, SEMIOLOGY 21 but it was a long and difficult one to follow. Is this surprising? When a musical repertoire, which was first only memorized and then fixed on parchment by procedures that were more or less precise, was submitted over several centuries to a deadly and sometimes sytematic degradation, the result is that such a repertoire is so deformed that its true nature can no longer be imagined.
  • Acquainted with the Night

    Acquainted with the Night

    Get hundreds more LitCharts at www.litcharts.com Acquainted with the Night sorrow, with raindrops often representing human tears. SUMMARY Therefore, the physical rain that surrounds the speaker is a reflection of the speaker’s sorrow. The speaker declares their familiarity with the night. It was raining when the speaker began a walk across the city, and it As the speaker continues walking, the darkness and sorrow of was still raining at the end of the walk. During the walk, the the surroundings intensify. The speaker walks beyond even the speaker progressed beyond even the outermost light of the “furthest city light,” thus sinking further into physical darkness. city. In a similar vein, the speaker characterizes the “city lane” they look into as the “saddest.” The use of superlatives—"furthest” The speaker looked into the most desolate city street. The and “saddest”—reflects the heightening of the speaker’s speaker also passed by a watchman patrolling the city. The emotions. Indeed, the speaker’s despair and sorrow seem speaker, however, looked down to avoid eye contact with the never-ending; although the speaker continues to progress on watchman, not wanting to talk about the reasons behind the the walk, the speaker doesn’t actually go anywhere on a speaker's nighttime walk. figurative and emotional level. This sense of despair and sorrow During the walk, the speaker stopped moving upon hearing a is inescapable, like the night itself. distant, broken-off cry. The sound of this other human's voice What's more, the speaker’s feelings of suffering and despair traveled across houses from a different street.
  • Western Culture Has Roots in Ancient

    Western Culture Has Roots in Ancient

    3 13. What happened in 395, 476, 1054, 1453? Chapter 2 Division (Milan, Rome) and (Byzantium, Constantinople, The Christian Church in the First Millennium Istanbul); fall of Rome; Roman Catholic Church and Byzantine Church split; fall of Constantinople. East 1. (22) How is the history of music in medieval Europe under the control of the emperor; in the west a bishop intertwined with the history of the Christian church? assumed authority Notation and polyphony developed within church music; schools were church; composers and theorists were 14. (26) SR: What two things did singing of psalms trained there; notation preserved the music of the church accomplish for St. Basil? Taught doctrine; softens an angry spirit 2. (23) What was the deal about Christianity before 313? OK as long as worship Roman gods and emperors; Christians 15. SR: What was Augustine's dilemma and justification? had only one god and tried to convert others. Deeply moved but was also pleasurable; weaker souls would benefit more 3. What did the Edict of Milan do? Legalized Christianity and church own property 16. (27) SR: Who was Egeria? What texts were sung? Any ethos going on? What service was it? 4. What happened in 392? Spanish nun on pilgrimage to Jerusalem; psalms; people wept Christianity is the official religion; all others suppressed when gospel was read; Matins except Judaism 17. What is the language of the Catholic Church? 5. What's the connection between Christian observances Byzantine? TQ: Old Testament? New Testament? and Jewish traditions? Latin, Greek, Hebrew, Greek Chanting of Scripture and singing of psalms 18.
  • Memory, Music, Epistemology, and the Emergence of Gregorian Chant As Corporate Knowledge

    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:
  • Talking About Poetry: Meter Scansion Means Analyzing a Passage of Verse to Determine Its Meter, Which Generally Refers to a Line

    Talking About Poetry: Meter Scansion Means Analyzing a Passage of Verse to Determine Its Meter, Which Generally Refers to a Line

    Talking about Poetry: Meter Scansion means analyzing a passage of verse to determine its meter, which generally refers to a line’s type of foot and number of feet per line. Types of feet: 1) Iambic: a light syllable followed by a stressed syllable Ex. The cur few tolls the knell of par ting day. 2) Anapestic: two light syllables followed by a stressed syllable (think the sound of horses hooves) Ex. The As syr ian came down like a wolf on the fold. 3) Trochaic: a stressed followed by a light syllable Ex. There they are, my fif ty men and wo men 4) Dactyllic: a stressed syllable followed by two light syllables Ex. Eve, with her bas ket, was Deep in the bells and grass. Rising meter: strong stress is at the end (iambs and anapests) Falling meter: strong stress is at the beginning (trochees and dactyls) Duple meter: contains two syllables (iambs and trochees) Triple meter: contains three syllables (anapests and dactyls) Occasional variants from theses four standard types of feet: 5) Spondiac: two successive syllables with approximately equal strong stresses Ex. Good strong thick stu pe fy ing in cense smoke. (1st two feet) 6) Pyrrhic: two successive syllables with approximately equal light stresses Ex. My way is to be gin with the be gin ning (2nd and 4th feet) Naming metric lines according to numver of feet per line: Monometer: one foot Pentameter: five feet Dimeter: two feet Hexameter: six feet (Alexandrine= a line of six iambic feet) Trimeter: three feet Heptameter: seven feet Terameter: four feet Octameter: eight feet Other ways of describing
  • The Caesura and the Rhythmic Shape of the A-Verse in the Poems of the Alliterative Revival

    The Caesura and the Rhythmic Shape of the A-Verse in the Poems of the Alliterative Revival

    The Caesura and the Rhythmic Shape of the A-Verse in the Poems of the Alliterative Revival Noriko Inoue and Myra Stokes Introduction The metre of Middle English alliterative verse is a subject which remained relatively neglected for much of the last century until a new impetus was given to it by the work of, most notably, Hoyt Duggan, whose findings regarding the rules governing the b-verse (the second half of the alliterative line) have provided a persuasive and thought-provoking focus for renewed interest in the subject.1 Since the structure of the a-verse is now attracting attention, the present seems a timely moment in which to open the subject of the caesura: for whether or not the caesura requires to be audibly signalled by a beat at the conclusion of the a-verse is a matter that bears significantly on any theories of the metrical shape of the first half of the line. The existence of such a stress at the caesura has usually been implicitly assumed, though not often explicitly argued, and has never until recently been seriously questioned. The fact of the caesura itself is accepted by metrists of nearly all persuasions — neces- sarily so, since the distinction between the a-verse and the b-verse (which forms the basis of nearly all metrical discussion of alliterative verse) presupposes some perceived division of the line into separable halves. Norman Davis represented the orthodox view when he stated that ‘the long line is divided by a natural pause, or caesura, into two half-lines each of which normally contains two lifts.’2 Duggan’s
  • T>HE JOURNAL MUSIC ACADEMY

    T>HE JOURNAL MUSIC ACADEMY

    T>HE JOURNAL OF Y < r f . MUSIC ACADEMY MADRAS A QUARTERLY IrGHTED TO THE ADVANCEMENT OF THE SCIENCE ' AND ART OF MUSIC XXXVIII 1967 Part.' I-IV ir w > \ dwell not in Vaikuntha, nor in the hearts of Yogins, ^n- the Sun; (but) where my Bhaktas sing, there L ^ Narada ! ” ) EDITED BY v. RAGHAVAN, M.A., p h .d . 1967 PUBLISHED BY 1US1C ACADEMY, MADRAS a to to 115-E, MOWBRAY’S ROAD, MADRAS-14 bscription—Inland Rs. 4. Foreign 8 sh. X \ \ !• ADVERTISEMENT CHARGES \ COVER PAGES: Full Page Half Page i BaCk (outside) Rs. 25 Rs. 13 Front (inside) 99 20 .. 11. BaCk (Do.) 30 *# ” J6 INSIDE PAGES: i 1st page (after Cover) 99 18 io Other pages (eaCh) 99 15 .. 9 PreferenCe will be given (o advertisers of musiCal ® instruments and books and other artistic wares. V Special positions and speCial rates on appliCation. t NOTICE All correspondence should be addressed to Dr. V. Ragb Editor, Journal of the MusiC ACademy, Madras-14. Articles on subjects of musiC and dance are accepte publication on the understanding that they are Contributed to the Journal of the MusiC ACademy. f. AIT manuscripts should be legibly written or preferabl; written (double spaced—on one side of the paper only) and be sigoed by the writer (giving his address in full). I The Editor of the Journal is not responsible for tb expressed by individual contributors. AH books, advertisement moneys and cheques du> intended for the Journal should be sent to Dr. V, B Editor. CONTENTS Page T XLth Madras MusiC Conference, 1966 OffiCial Report ..