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Early Dominican Mass Chants: a Witness to Thirteenth-Century

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Early Dominican Mass Chants: a Witness to Thirteenth-Century 4 THE CATFIOLTCUN LVERS I'l'Y OF AMISK 1C.A ,, EARLY DOMINICAN MASS CHANTS A WITNESS TO THIRTEENTH CENTURY CHANT S't'YLE A DISSERTATION Submitted to the Faculty of the Renjamin T. Rome School of Mr~sic of the Ca'tholic University of America in Partial Fulfillment of the Requirements for the Degree Doctor- of Phi.losophy The Reverend Robert R. Maller, O..P. Washington, D. C. 1986 This dissertation was approved by Ruth Steiner * as Director, and by'conrad ~ernierand Cyrilla Barr as Readers. -. Director Reader /I Reader (Dissertation Abstract) EARLY DOMINICAN MASS CHANTS A WITNESS TO THIRTEENTH CENTURY CHANT STYLE by The Reverend Robert B. Haller, 0. P. * I This dissertation is an examination and analysis oE the earliest known sources of Domini,can Mass chants, the process by'which these were edited, and the style of the chant which resulted. To accomplish this, three closely u related chant traditions are studied and compared with the chant of other traditions: the Cistercian chant as edited 9 under Bernard of Clairvaux, the pre-1244 edition of Dominican chant, and the Dominican chant reformed under Numbert of Romans and completed in 1256. By examining the musical ,principles which guided the editors in their work and the cultural and religious pre-suppositions which underlay these principles, the author seeks to gain insight into the editorial process and what that process can reveal about the aesthetic sense of the age in which it is found. By examining early Cistercian and Dominican legislative documents the autho,r provides a brief history of the reforms and the spirit which underlay them. The e theoretical principle^ which guided the editors are examined and their origins traced in medieval music theory. By examining specific chants the author shows the way in which the theoretical principles were applied to the music of each tradition. The application of principles of abbreviation and simplification, narrowing of range, and of the use of b-flat are examined in detail, Special attention is given to the analysis of twenty chants chosen because they reveal the way I - A in which many'editors approach the more complex problems of modal unity and the notation of impossible intervals. In large part the study of medieval plainchant has concentrated on attempts to rediscover, the earliest, and presumably most authentic form of the chant. By examining , the chant of the 12th and 13th centuries this dissertation seeks instead to examine the way in which the chant developed in response to a continually changing musical aesthetic. It should be noted that this dissertation is the first to s,tudy the ,Dominican chant as it existed prior to the reform of J. Humbert of "omans and to analyze the music of this tradition in someP detaii. TABLE OF CONTENTS Acknowledgements ,* . v I List of Tables . , vii List of Figures . ix Table of Abbreviations . x I THE MANUSCRIPTS . 1 Malibu, CA, J. Paul Getty Museum, Ms. Ludwig V 5 4 ~~~baranceof the Manuscript . 5 The Notation . 12 Origins and Provenance . 15 Dating the Manuscript . 20 Rome, Bibl. Vat. lat. 10773 Appearance of the Manuscript . 30 The Notation . 34 Origins and Provenance . 35 Dating the Manuscript . 37 Rome, Archivurn generale '0,P. XIV L I Appearance of the Manuscript . 40 The Notation . 44 The Origins, Provenance, and Dating . 46 Other Dominican Manuecripts' ei Longon, British Lib, add. 23935 . 47 Paris, Bihl. Nat. 1"at. 8884 . 49 Manuscripts of Other Religious Orders Cistercian b-inuscripts . 51 Franciscan ~snuscri~ts. 53 ~rem'onstratensianManuscripte . Manuscripts of Monastic or Local Usage . 1, HISTORICAL BACKGROUND The Cistercian Chant Reform , i Underlying Principles . Historical Outline . The Dominican Chant Reforms Underlying Principles . Historical Outllne . 86 The First Uniform Liturgy , . 88 The Work of the Four Friars . 94 The Final Stages of the Reform . 100 The Role of Jerome of Moravia . 106 " 1 MEDIEVAL THEOK.ISTS AND CHANT REFORM Hist.orica1 Background . 115 Need for Chant Reform . .. *. 119 nusic Modal Theory . , 125 The Concept of Mode . 125 Hodal Transposit ton e . 129 The Use of B-Flat . 133 Problems of Ambitus . 135 Melodic Structure and Style . 141 e . Wgnificance of Individual Notes . 141 The Concept of Interval . 143 Beginnings and Internal Cadences . 145 John on Melodic Style . 148 Guido on Melodic Style . 151 < Melodic Patterns and Formulaa . 153 The. Noeane Patterns . 254 The "Primum Quaerite" Melodies . 160 IV. ,THE CISTERCIAN AND DOMINICAN REFORMS . v . 173 The Thepretical Manuscripts Cistercian Sources . 174 Dominican~Sources . 178 ,The Concept of Chant Reform . , 181 Modal Theory and Reform . 188 Principles of the,Reforms . 292 Abbreviation and Simplification . ,196 Range and the Decachord . 207 The Use of B-Flat . 217 More Complex Problems . 270 V. COMPARATIVE ANALYSIS OF CHANTS AND MANUSCRIPTS . 230 Modal Problems of Leaacr Complexity . v . 241 1. Offertory: Confitebor Domine . 242 2. Tntroit: Iudicu rnc Dcus . 247 3. Communion: Mense se,ptimo . 4. Communion: Ego- sum Pastor . * 5. Offertory: Eripe me...Domine ' P, 6. Offertory: Iusticie Domine . 7. offertory: Tollite portas . 8. Offertory: Exulta satis . 9. Communion: 'Paccm meam . More complex Modal Unity Problem 10. Introit: Edvxit ~bminus. 259 11. Introit: Deus durn egredieris . 264 12. Communion: Dicit Dominus implete . 265 13. Communion: Tu mandasti . , 268 14. Introit; Miserere michi...conculcavlt 270 15. Antiphon: Immutemur habitu . 275 The Notation of Impossible Intervals . 278 * 16. Communion: Ego clamavi . 279 17. Communion: De fructu . 282 18. Communion: Passer i.nvenit . 286 19. Communion: Aufer a me . 289 20. Offertory: In die solemnitntis . 292 APPENDIX OF LATIN TEXTS . 343 HTRLIOGRAPHY . 365 . e* ACKNQWLEDGEMENTS This dissertation would be incomplete without grateful acknowledgement of the many persons and institutions who gave assistance in so many ways'. First I would like to thank Professor Ruth Steiner, my director, wi.thout whose patience and encouragement this dissertation might never have been completed. Her advice and suggestions were invaluable in every stage of the research and writing. My thanks also to Professors Cyrilla Barr and Conrad Rernier who served as readers. I am grateful for the help and encouragement offered by a1.l of my Dominican brothers with whom I have lived and worked during the writing of this dissertation. A few, however, must' receive specific acknowledgement. I must-thank in a special-way Marie-Joseph Gy, O.P. of the Institut Catholique in Paris, whose suggestion that I examine the music of Ms. Ludwig V 5 provided the initial impetus for this study, To Ansgar Dirks, O.P. of the Liturgical Institute of the Dominican Order I am grateful for the suggestion that I examine th8 Mg. Ribl. Vat. lat. 10773. I am also grateful to him for his invaluable suggestions concerning the dating of the earliest Dominican manuscripts, and for his many kindnesses to me while I was in Rome. T would also like to thank both Andre Gignac and Philip Gleeson for providing copies of their own dissertations. This dissertation is dedicated to the memory of a man whose work on the history oE the Dominican liturgy is well known. llc has been an inspiration and -a help to me and to so miilly others who have worked in the field of Dominican " liLurgy. T was privileged to live with him during the Last: ycnr of' his life, and even at ninety-sevcn hc was still eager to di scuss, ~,valui~tc,and of Ccr suggest ions. To the memory of Willlnm Raymond Ronniwcll, O.P., historian, liturgist, firpriest, tlntl friend, 1 tlptlicatc- this work. and Mnn~~~criptu,who~c manuscript, Yale, Reinecke 530, has bPcn used in this work. I would li'kc to thank th'e Dom Mocquereau Foundation for making ossihle the collection of chant manuscripts on microfllm wE ich is&oused at the Renjamin T. Rome School of Music, Catholic Un4versityr My thanks also to the Catholic University Library, and especially to the staff of the music division for their assistance. 1 would aleso like to thank the librarian of the Phillips Memorial Providence Collegc, Mr. Joseph Doherty, for his assistance and for the use of the Ronniwell Collection of manuscript facsimiles and 1 iturgical sources. A spqcial thanks to Thomas Kren and the staff of ttic J. Paul Getty Museum in Malibu, CA for allowing access to the Ms. Ludwig V 5, so important to the present study, and for providing a microfilm of the manuscript. Thanks are also due to the Pierpont Morgan Library in New York City for access to Ms. Morgan Lib. 797; and to the Vatican Library, the Rritish library, and the Bihliotheque Nationale in Paris for the use of their respecti-ve manuscripts as cited in Table T. A final word of thanks to my Dominican superiors for providing the time and support necessary to complete this dissertation: especially to Raymond Daley, O.P., Provincial of the Province of St. Joseph, to Mark Heath, O.P., Regent of Studies, and to John McGujre, Prior of the house where thc actual writing of the dissertation was completed. LIST OF, TABLES I I THE MANUSCRIPTS . 2-3 11. THE NOEANE PATTERNS . 155 111, THE "PRIMUM QUAERITE" MELODIES . 162 IV. REDUCTION OF RANGE IN GRADUALS . , 212 V. TRANSPOSITION TO AVOID B-FLAT . 225-26 - VI. INTROIT: IUDICA ME DEUS . 298-99 VIT. COMMUNION: MENSE SEPTIMO . 300-01 VIII. CO~~MUNION:EGO SUM PASTOR . 302 IX, OFFERTORY: ERIPE ME... DOMINE . 303 . , X. OFFERTORY: IUSTICIE DOMINE . , ,304-05 XI, OFFERTORY: TOLLITE PORTAS . 306 XIV. INTROIT: EDUXIT DOMINUS . ,- . 309-10 XV. INTROIT: DEUS DUM EGKEl)II<KIS . * . 311 XVI. COMMUN [ON: DICIT DOMINUS IMPLETE . 312-13 XVII. COMMUNION: TU HA!IDAStrl' . 314 XV [TI. TNTROI'I': MISEKEKE MICHI.. CONCIJLCAV'IT . 315 - vii - XIX. ANTIPHONr IMMUTEMUK HABITU . 316-17 , XX, COMMUNION: EGO CLAMAVI .
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