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St. Odo of Cluny Catholic.net Born to the nobility, the son of Abbo. Raised in the courts of Count Fulk II of Anjou and Duke William of Aquitaine. Received the Order of Tonsure at age nineteen. Canon of the church of Saint Martin of Tours. Studied music and theology in Paris for four years, studying under Remigius of Auxerre. Returning home, he spent years as a near-hermit in a cell, studying and praying. Benedictine monk at Baume, diocese of Besancon, France in 909, bringing all his worldly possessions – a library of about 100 books. Spiritual student of the abbot, Saint Berno of Cluny. Headmaster of the monastery school at Baume. Abbot of Baume in 924. Abbot of Cluny, Massey and Deols in 927. In 931, Pope John XI asked Odo to reform all the monasteries in the Aquitaine, northern France and Italy. Negotiated a peace between Heberic of Rome and Hugh of Provence in 936; returned twice in six years to renegotiate the peace between them. Persuaded many secular leaders to give up control of monasteries so they could return to being spiritual centers, not sources of cash for the state. Founded the monastery of Our Lady on the Aventine in Rome. Wrote a biography of Saint Gerald of Aurillac, three books of essays on morality, some homilies, an epic poem on the Redemption, and twelve choral antiphons in honour of Saint Martin of Tours. Noted for his knowledge, his administrative abilities, his skills as a reformer, and as a writer; also known for his charity, he has been depicted giving the poor the clothes off his back. página 1 / 1 Powered by TCPDF (www.tcpdf.org).

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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:
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Compositeur Naissance Décès Période Notker Balbulus C
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JAMES D. BABCOCK, MBA, CFA, CPA 191 South Salem Road  Ridgefield, Connecticut 06877 (203) 994-7244  [email protected]
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Anonymous I and Prologus in tonarium: Changing Interpretations of Music Theory in Eleventh-Century Germany T. J. H. MCCARTHY Abbot Bern of Reichenau (d. 1048) stands as a formative influence upon eleventh- and twelfth-century German music theorists. Prologus in tonarium, the longer of his two music treatises, takes the form of a prologue in twelve chapters to an extensive tonary.1 His pairing of the theoretical prologue with the tonary—a list of chants classified according to mode—emphasizes the fundamental connexion between music theory and singing, which was the salient feature of the ars musica in the monastic and cathedral schools of Germany during the eleventh and twelfth centuries. Abbot Bern dedicated this treatise to Archbishop Pilgrim of Cologne, which implies a date of composition between 1021 and 1036.2 Prologus in tonarium exerted a considerable influence on subsequent generations of south-German music theorists, for it was widely copied during the eleventh and twelfth centuries: today Prologus survives in over thirty manuscripts while Tonarius survives in seventeen.3 The provenances and origins of the eleventh- and twelfth-century recensions show the treatise to have been widely disseminated in southern Germany. To this total must be added the evidence of library catalogues and known lost copies: the treatise was available in the monasteries of Muri, Reichenau, St Blasien, St Georgen, Tegernsee and Weissenau during the eleventh and twelfth centuries.4 1 The most recent edition of Bern’s musical works is Alexander Rausch (ed.), Die Musiktraktate des Abtes Bern von Reichenau. Edition und Interpretation, Musica mediaevalis Europae occidentalis, 5 (Tutzing: Schneider, 1999).
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This Electronic Thesis Or Dissertation Has Been Downloaded from the King’S Research Portal At
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