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

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