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This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Insular sources of thirteenth-century polyphony and the significance of Notre Dame. Losseff, Nicola The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 09. Oct. 2021 -1- INSULAR SOURCES OF THIRTEENTH-CENTURY POLYPHONY AND THE SIGNIFICANCE OF NOTRE DAME Nicola Losseff Submitted for the degree of Doctor of Philosophy at King's College, London, 1993 1LoNDgt UNW. -2- ABSTRACT The myriad insular sources of 13th-century polyphony have never been discussed comprehensively. This is partly because many have only recently been discovered, but also because their fragmentary state has proved an obstacle to understanding what they represent in terms of repertory, generic ordering, and copying and notational traditions. This study considers such problems, and discusses the relationship between the polyphonic styles of the "Notre-Dame" school and insular music. There are seven chapters, two appendices and a bibliography. §1 discusses the historical interaction of Britain and France, placing the manuscript W1 at the crossroads of this relationship. It is argued that as both the earliest datable Notre-Dame source and sole complete surviving insular source of the period, W1 has misrepresented the position of insular thirteenth-century polyphony. The appropriateness of the term "Notre-Dame conductus" in terms of musical style or geographical accuracy is considered. §11 discusses the relationship between paleographical style and the transmission of music in books of polyphony. It goes on to examine the meaning of music copied in miscellanies. §111 considers provenance, referring particularly to Anonymous IV's "Westcuntre" school, manuscripts from East Anglia, London and Reading, and the "Worcester fragments." §IV questions whether the manuscripts really show that style or notation are reliable guides for dating, and posits a series of parallel developments, co-existing stylistically and notationally, without contamination from one to the other. Evidence offered by the newly-dated source Ob Lat. liturg. b. 19 is contemplated. §V examines the role of genre in insular copying traditions. §VI shows that insular sources of "Notre- Dame" polyphony can the problems of isolating smaller repertories within fascicles of "Notre-Dame" conducti. The final chapter sums up material discussed in §1 to §VI. Appendix I catalogues extant thirteenth-century insular sources with contents. Appendix II catalogues compositions from Appendix I by text incipit. -3- TABLE OF CONTENTS Abstract 2 List of Examples, Figures and Tables 4 Acknowledgements 5 Prefatory notes 7 Preface 9 §1: BRITAIN AND FRANCE i: Introduction 13 ii: "Noire-Dame" polyphony 22 iii: The conductus in England 26 §11: SOURCES 1: Books of polyphony 34 ii: Commonplace books 46 §111: EAST AND WEST 61 §W FASHION i: Dating and style 99 ii: Notation 114 iii: Paired-breve and long/breve notation 126 THE CONTENTS AND ORGANISATION OF INSULAR SOURCES Genre 138 ii: Copying traditions 140 iii: "Primitive" polyphony 165 §VI: GROUP BEHAVIOUR i: Noire-Dame conducti 170 ii: An English conductus repertory? 183 §VII: CONCLUSION 200 -4- APPENDICES: I: C.ataJogu of thineenth-centuzy insular sources with carfla?ts 203 II. Catalogue of compositions from thirteenth-century insular sources by text incipit 211 BIBLIOGRAPHIES: Manuscript sources cited in the text 252 Secondary sources cited in the text 255 EXAMPLES, FIGURES AND TABLES Examples 1. Cristusna&sdeMaria (Lip 752) 39 2. Barabas dimittitur (Lip 752) 40 3. Quis tibi Christi ,neritas (W2 and 0cc 497) 59 4. Salve mater misericordie (Oh Wood 591 and 0cc 489) 108 5. 0 laudanda virginitas (text; Ob Wood 591) 111 6. 0 laudanda virginitas (Oh Wood 591) 112 7. Aiieiuya Ave rosa generosa (opening; CAc Add. 128/8) 118 8. Mirabills deus-Ave Maria-Ave Maria (Oh Lat. liturg. b. 19) 130 9. Descendit de cells (Oh Lat. liturg. b. 19) 134 10.Alleluya Gaude piaude (WOR 2) 162 11. Redit etas aurea (text) 194 Figures 1. Minor initial flourishing, Cu Ff. 2.29 and Cjec QB. I 67 2. Comparison of chants from Worcester Reconstruction 1 and the Worcester gradual 85 3a. Comparison of chants from Worcester Reconstruction 2 and the Worcester gradual 87 3b. Comparison of chants from Worcester Reconstruction 3 and the Worcester gradual 87 4. Flourishing components, Lip 752 102 5. Part of flourished initial, CAc Add. 128/8 102 6. Projected gathering anangement, WOR 1 157 Tables 1. Insular sources: internal concordances 89 2. Concordances with manuscripts outside 13th-century insular sources 90 3. Supposed concordances between lost Reading index and Worcester repertory 93 4. Rondelius repetitions 107 5. Repertories containing concordances with conducti of Lip 752 172 6. Concordances for the 3-part pieces in QB. 1 q 176 7. Concordances for the 2-part pieces in Cjec QB. 1 178 8. Repertories containing concordances with conducti of Wood 591 181 -5- ACKNOWLEDGEMENTS I would like to acknowledge a number of individuals and institutions who have helped me during the course of this study. I was supported financially by the British Academy. A Louise Dyer Award from the Musica Britannica Trust enabled me to purchase photographic material. I wish to thank the staff of the following libraries: in London, the British Library, and the libraries of Lambeth Palace, Senate House and Westminster Abbey; in Oxford, the Bodleian and the libraries of Worcester College and Corpus Christi College; in Cambridge, the libraries of Jesus, Trinity, Gonville and Caius and Corpus Christi Colleges and the University library; in Durham, the University library; in Canterbury, the Cathedral library; and last but decidedly not least, Canon McKenzie and the staff at Worcester Chapter library. Several individuals hold me in their debt. This dissertation began under the supervision of Dr. Mark Everist and continued under that of Prof. Reinhard Strohm. Both these scholars kindly read drafts and made perspicacious comments, as did Dr. Peter Lefferts and Dr. William Summers; any errors which remain are entirely my own. Mark Everist gave freely not only of his time but also of his hospitality until the completion of the study. It is he to whom I owe very special thanks. I would also like to thank Professor A. C. de la Mare (King's College, London), Dr. Andrew Wathey (Royal Holloway and Bedford New College, University of London), Mr. Peter Hoare (University of Nottingham) and Dr. Ian Doyle (University of Durham) for their help. A very special thank-you must also go to Irene Auerbach, particularly for her invaluable translations from German, and to Emily Ducker, who helped with some of the tedious tasks associated with cataloguing. Finally, I thank my partner Toni. Only she, a part-time if not a full-time saint, understands fully when I say that words cannot indicate how much. -6- Dedicated to the memory of my father -7- PREFATORY NOTES Sources Except for four manuscripts which are still commonly abbreviated F, W1 , W2 and Ma, sources are identified by modern-type RISM sigla. All are fully expanded in the bibliography on page 252. In folio references, only a verso is indicated, and thus where only a number is given, this indicates a recto. Identification of compositions iConducti mentioned in the text are identified according to Gordon Anderson, "Notre- Dame and Related Conductus: A Catalogue Raisonné," Miscellanea musicologica 6 (1972) 153-229; 7 (1975) 1-81. In the Catalogue (Appendix 2), they are also, if listed therein, identified by the number given them in Robert Faick, The Notre Dame Conductus. A Study of the Repertory, Musicological studies 33 (Henryville, Ottowa and Binningen: Institute of Mediaeval Music, 1981). b) Motets: each part is identified by its number from Friedrich Gennrich, Bibliographie der ältesten franzosischen und lateinischen Motetten, Summa musicae medii aevi 2 (Darmstadt: n. p., 1958). ci Organa are identified by "M" or "0" numbers from Friedrich Ludwig, Repertorium organorum recentioris et motetorum vetustissimi still, 2 vols (1 (1) - Halle: Verlag von Max Niemaeyer, 1910; R [ed. Luther A. Dittmer, Musicological studies 7J Brooklyn, New York: Institute of Medieval Music; Hildesheim: Georg Olms Verlagsbuchhandlung, 1964; 1 (2) - [345-456 ed. Friecirich Gennrich including R of "Die Quellen der Motetten altesten Stils," Archivfiir Musikwissenschaft 5 (1923) 185 - 222 and 273-315, Summa musicae medii aevi 7] Langen bei Frankfurt: n. p., 1961; R [345-456], 457-783, ed. Luther A. Dittmer, Musicological Studies 26] [Binningen]: Institute of Medieval Music, 1978); (2 - [1-71 ed. Friedrich Gennrich, Summa musicae -8- medii aevi 8 - 65-71 in page proof only] Langen bei Frankfurt: n. p., 1962; R [1-64, 65- 71 corrected], [72-155 ed. Luther A. Dittmer (Musicological Studies 17)] Brooklyn, New York: Institute of Medieval Music, n.
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  • JAMES D. BABCOCK, MBA, CFA, CPA 191 South Salem Road  Ridgefield, Connecticut 06877 (203) 994-7244  Babcock10@Comcast.Net

    JAMES D. BABCOCK, MBA, CFA, CPA 191 South Salem Road  Ridgefield, Connecticut 06877 (203) 994-7244  [email protected]

    JAMES D. BABCOCK, MBA, CFA, CPA 191 South Salem Road Ridgefield, Connecticut 06877 (203) 994-7244 [email protected] List of Addendums First Addendum – Middle Ages Second Addendum – Modern and Modern Sub-Categories A. 20th Century B. 21st Century C. Modern and High Modern D. Postmodern and Contemporary E. Descrtiption of Categories (alphabetic) and Important Composers Third Addendum – Composers Fourth Addendum – Musical Terms and Concepts 1 First Addendum – Middle Ages A. The Early Medieval Music (500-1150). i. Early chant traditions Chant (or plainsong) is a monophonic sacred form which represents the earliest known music of the Christian Church. The simplest, syllabic chants, in which each syllable is set to one note, were probably intended to be sung by the choir or congregation, while the more florid, melismatic examples (which have many notes to each syllable) were probably performed by soloists. Plainchant melodies (which are sometimes referred to as a “drown,” are characterized by the following: A monophonic texture; For ease of singing, relatively conjunct melodic contour (meaning no large intervals between one note and the next) and a restricted range (no notes too high or too low); and Rhythms based strictly on the articulation of the word being sung (meaning no steady dancelike beats). Chant developed separately in several European centers, the most important being Rome, Hispania, Gaul, Milan and Ireland. Chant was developed to support the regional liturgies used when celebrating Mass. Each area developed its own chant and rules for celebration. In Spain and Portugal, Mozarabic chant was used, showing the influence of North Afgican music. The Mozarabic liturgy survived through Muslim rule, though this was an isolated strand and was later suppressed in an attempt to enforce conformity on the entire liturgy.