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Natlon Hu B««N Ifinohiiil Cm Cllr U Nctind 66*312 BARR, FS . P .A

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Natlon Hu B««N Ifinohiiil Cm Cllr U Nctind 66*312 BARR, FS . P .A Thl* itlii »natlon hu b««n ■IfinOhiiil cMcllr u nctind 66*312 BARR, F.S. P .A ., Sister M. Cyrtlla. 1929- TH E L A U D E FRANCESCA NE A N D T H E DISCI P LIN A TI OF THIRTEENTH CENTURY UM BRIA A N D TUSCANY: A C R IT IC A L STUDY OF THE CORTONA CODEX 91. (VOLUMES I AND I I ) (S tu d ie s in Music, No. 2 1 ). The Catholic University of Am erica, Ph.D., 1965 Music University Microfilms, Inc.. Ann A rb o r. Michigan Copyright by ster M. CyrI I la Borr, F.S.P.A. 1966 THE CATHOLIC UNIVERSITY OF AMERICA Stuoies in Music No. 21 THE LAUDE FRANCESCANE AND THE DISC I PL I NAT I OF THIRTEENTH CENTURY UMBRIA AND TUSCANY: A CRITICAL STUDY OF THE CORTONA CODEX 91 A DISSERTATION Submitted to the Faculty of the Graduate School of Arts and Sciences Of the Catholic University of America In Partial Fulfillment of tne Requirements For the Degree Doctor of Philosophy by Sister M. Cyri I la Barr, F.S.P.A, Washington, D. C. 1965 This dissertation was conducted under the direction of Tkovn(x/> os Major Professor and was approved by ( j t and /C '- y ^ _______ os readers THE LAUDE FRANCESCANE AND THE DISC I PL I NAT I OF THIRTEENTH CENTURY UMBRIA AND TUSCANY: A CRITICAL STUDY OF THE CORTONA CODEX 91 VOLUME I PREFACE Italian music of the middle ages followed a somewhat d if­ ferent course than did that of northern Europe and England. The musician of the transalpine and insular schools carefully recorded not only much of his music, but also treatises on its theory and performance as well. This is perhaps the reason why the troubadour, trouvere, and Minnesinger repertoires have fared so much better in musicologicaI pursuits of modern times than have their Italian counterparts. Studies and tronscriptions of French monophonic music in particular have continued to multiply, while conversely, the neglect of Italian secular monody has continued well into our own century, and the English reader s t ill awaits the publication of the firs t monograph or. the subject. Mus i co log1*sts have tended to dismiss the laude spi r ? tua I ? with a few brief paragraphs couched in general terms, usually ascribing the laude to the wandering bonds of flege Ilanti which sprang up throughout Italy around 1260. There may be on oc­ casional reference to the role of the Franciscan Order in the early dissemination of the practice of laude singing, but lit tle or nothing has been written about this f,pre-f loge I lent i" phase. The reasons for this neglect are to some extent related to the feet that the laude sprang from a social stratum consider­ ably lower then the chanson and the Lei ch. The troubadour, trouvere, and Minnesinger were well educated, and if not of noble birth were at least in the employ of the aristocracy. What they produced was an esoteric kind of song intended to entertain the restricted circle of the court. The laude, on the contrary, was whet might today be termed Gebrauchsmus ? k, uti lity music combining the immediacy of the present need with the informatily of daily routine into an art which sometimes attained a truly universal character. The composer of the laude was no nobleman by birth, end his audience was far from courtly. On the contrary, he was most likely an itinerant mendicant fria r bent on reaching his illite ra te congregation. The few manuscripts he left behind are not the product of an established scriptorium and cannot compare in magnificence with the troubadour chansonn?ers. Only a relatively small number of these Italian laudario manuscripts contain the melodies to which the poetry was sung. Of these the two most important are the thirteenth-century Lauderi o 91 of the Bi bIi oteca deI Comune e de I I * accademi a Etrusca of Cortona, and the MS Mag Ii abechi eno II I 122 of the Bi b 11 o- teca Naz ? onale Centra Ie of Florence. S till I ess is known of the manner in which the hymns were performed. The mediaeval Italian wrote very sparingly about his music, and the only treatises which have come down from this period ere related to learned music and the problems of singing polyphony, such as those illustrated by Guido of Arezzo in his Microloqus. This paucity of recorded information relative to the lauda and its performance has caused the subject to be more widely studied by phi lologists and students of Iiterature than of music. Periodicals of romance philology published in the years just following Ita ly ’ s unification witness to the sudden surge of interest in this national form. Yet not unti I 1935 did there appear a complete musical study of the two above mentioned manuscripts. In this year Fernando Liuzzi published his two-volume work entitled J_a Laude q _i_ pr ? mord ? de I la me lodi a i ta I iana . Musicology owes much to bis labors, though today the rhythmic fancies of Liuzzi's transcriptions are quite unanimously rejected os being both unrealistic and inartistic^ and his claims for the importance of the ba I lata form are disputed. Neverthe­ less, the work remains a monument, published in a ll the elegance of a facsimile edition of the m id-thirties. The present work, while taking issue with Liuzzi's transcriptions and other of his theories, is greatly indebted to his redaction of the text, which was the result of collating thirteen different sources— not all of which were available to this writer in the original. Throughout the present dissertation the version of the lauda texts used is generally that of Liuzzi. Any departures from or disagreements with his text are cited in the accompanying notes. In approaching the study of the lauda one is faced with the question as to why the Italian in the middle ages seldom recorded anything about his music and indeed wrote down only a limited amount of the music its e lf. The answer would seem to lie in the fact that for people to whom music was so essential an element of dai ly living, the recording of hymns would have been about as necessary as committing the Poter Noster to manu- scripT to insure preservation. But for the student who turns his interest to this repertoire the absence of sources poses a formidable obstacle, though not an insuperable one. The research­ er is obliged to forage through chronicles, annals, papal bulls, ecclesiastical legislation and directives, letters, sermons, statutes of confraternities and religious orders, and from time to t 'me 0 v i ta or pass i o of some saint. Occasionally valuable bits of information are discovered in paintings, manuscripts illuminations, and not least of all in popular legends, which in the present work have proved so valuable to the unraveling of obscure textual references. The research takes on somewhat the character of an archeological expedition and the material amassed must be sifted, rejected, or accepted, until the whole hypothesis emerges os something homogeneous but cemented to­ gether from bits and scraps of information from a variety of sources. Since no musico logicoI investigation of popular art con be divorced from the.circumstonces which gove it birth this study purposes to examine the lauda in the setting of its own time. It is hoped that such on investigation will contribute to our knowledge of the delly life of the medioevel townsfolk. These early laude, designed as they were to meet the spiritual needs of the common man, constitute a considerable revelation of his religious awareness, end certainly provide some insight into the mind of the poet musician who invented them. For thi reason the study will be concerned with t ue hymn texts as well as the music. It will concentrate solely on the Leudorio 91 of the BIbIiotece deI Comune e deI I 1accadem?a Etrusca of Cortona. The choice of the manuscript is based upon its posi­ tion of primacy as the oldest known source containing both the poetry and music of the laude. The present dissertation is submitted 1) as an attempt to determine the nature of the group to which the Cortona Leudario 91 belonged; 2) to search for evidence within the poetry which might point to origin, age, end authorship of the work; 3) to provide a transcri ption of the music more in keeping with the simplicity of the poetic text; and 4) to present for the firs t time an English translation of these simple and charming hymn texts. In doing so it is hoped that the laude w ill offer a fresh insight into the tender, personal and indeed, sometimes earthy manifestations of the mind and heart of the mediaeval man as he spoke to God. ACKNOWLEDGMENTS I wish to express my sincere thanks to Professor Isaac Thomas under whose direction this dissertation was completed, end to the Right Reverend A. K. Ziegler, Ph.D., and Professor Allen Garrett, Ph.D., who os readers gave generously of their time and critical suggestions. I am especially grateful to the American Commission for Cultural Exchange with Italy under whose auspices I was the recipient of a Fulbright Scholarship to the University of Florence, 1963-64. During this time the major portion of the primary research for the dissertation was completed under the direction of Maestro Frederico Ghisi, to whom I feel on especial debt of gratitude for his kind personal interest as well os his generous assistance.
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