International Musicological Society / Internationale Gesellschaft für Musikwissenschaft Research Group / Forschungsgruppe CANTUS PLANUS 13th Conference / 13. Tagung Benediktinerabtei Niederaltaich 29. August – 4. September 2006 und Regensburg 1. September 2006

CANTUS PLANUS 2006

ABSTRACTS

Charles M. Atkinson (Ohio State University at Columbus) Ars grammatica and the Ars musica in Carolingian Schools - Glosses on Martianus Capella and

In his De musica, written about 1100 of the Common Era, the writer known as Johannes Cotto or Affligemensis names several ancient authors whose works were central to formation of the discipline of music, the ars musica. Among them are two one might expect, Martianus Capella and Boethius, but John also accords a prominent role to Donatus and Priscian, representatives of the discipline of grammar. Indeed, in his treatment of mode in the tenth chapter of his work, the only ancient authority John cites by name is Donatus, and he draws several direct parallels between the ars grammatica and the practice of plainchant. Far from being an isolated phenomenon, John's invocation of both Latin grammar and ancient Greek harmonic theory in a treatise on music is well established in the early , with important examples to be found in 9th-century treatises such as the Musica Disciplina of Aurelianus Reomensis, dating from approximately 850, and the Musica and , probably dating from somewhat later in the century. The question naturally arises: Whence cometh this dual focus within the ars musica? This paper will explore one answer to that question: viz., the nature of instruction in grammar and music in Carolingian schools. ~Z7HHGF~ Rebecca A. Baltzer (University of Texas at Austin) A Gallican Remnant in the Paris Mass: Episcopal Benedictions

Scholars have long acknowledged that sets of episcopal benedictions are a Gallican remnant in the medieval mass. The oldest extant Paris pontifical, from the early 13th century, opens with one hundred and ten sets of benedictions, and the first set, for the first Sunday of Advent, includes musical notation. Each set has five benedictions; the first three are proper to the day, and the last two are ordinary, written out only in the first set. In the mass they come after the Pater noster and Libera nos, just before the Peace and the Agnus dei. In this source the benedictions cover all the feasts and Sundays of the Temporale plus some ferias and the Common of saints, but there are less than two dozen sets proper to feasts of the Sanctorale. Taking note of medieval commentators on the liturgy, I will compare this collection of benedictions with earlier and later ones from Paris (9th-16thcs) and with collections from other locales in terms of their coverage and their variant readings. A handout will include selected texts, music, and translations. ~Z7HHGF~ Hilde Binford The "Loblied" of the Old Order Amish: Tracing the Oral Tradition of a 400-year Old Tune

The "Loblied" is the second "slow song" sung in every Old Order Amish church service. Passed down in an oral tradition through the male song leaders, it provides a paradigm for medieval and other oral traditions. The Old Order Amish chant tradition dates back to the sixteenth century. The texts to these tunes are contained in the Ausbund with no music notation, but the texts and tunes still are used in the services. Popular secular and sacred tunes are identified with incipits as the root melodies, and scholars have looked at the diminution and ornamentation that characterize the tunes, comparing them to both melismatic medieval chant and Baroque ornaments. It is possible to learn how the Old Order Amish slow songs are transmitted and to determine the extent of change as the tradition has evolved over time and regionally. Perhaps what is most astonishing is the stability of the oral tradition over the last 65 years. Already, though, changes are occurring. In a parallel to medieval chant tradition, some Amish started jotting markings like neumes into their Ausbunds to help remember the shape of the melody. The greatest impact on the tunes, however, has been with the introduction of written transcriptions of the slow songs, available in the Old Amish communities beginning around 1990. With these written transcriptions, the song leaders are seeing that the memory of less common tunes are being lost, and the notes don't capture the articulation and phrasing that are unique to the Amish. The very imperfect written transcription may presage a loss to the character of the Amish slow songs. ~Z7HHGF~ James Borders (University of Michigan, Ann Arbor) for the Consecration of Virgins

Based on an examination of over 100 manuscript pontificals of mainly French, English, and Italian origin, this presentation will survey the repertoire of some thirty and responsories for the consecration of virgins, and group the collections regionally and chronologically. This approach reveals, among other things, how widely the selections chants varied compared with other pontifical services, let alone the mass and office. Also clear is how extensively the last and most widely disseminated consecration ritual, in the Pontifical of William Durandus of Mende (compiled ca. 1293- 1295), transmits earlier regional ritual practices and chants. Examining the sung texts further reveals how the chants-many borrowed from offices of virgin martyrs-enhanced and sometimes contested the meaning of this rite of passage; musical settings suggest an increasing differentiation in the bishop's and the consecrands' musical roles. Finally the presenter will consider whether the unique characteristics of consecration rituals and surveyed patterns of chant transmission warrant investigation into the possible involvement of nuns in designing such services particularly in the later Middle Ages. ~Z7HHGF~ Charles E. Brewer (Florida State University) The Songs of Johannes Decanus

Included among the well-known collection of cantiones and Benedicamus tropes copied at the end of the Moosburger Gradual (München, Universitätsbibliothek, 2° Cod. ms. 156, ff.230v-250v) are five works attributed to "Johannes Decanus." Though earlier scholars have examined this repertoire as a whole, both in terms of its contents and concordances, no previous scholar has examined the unusual nature of two of the songs written by the Moosburg deacon, Johannes de Perchausen (+ 15.VIII.1362). This paper will place the songs of Johannes Decanus in the larger context of fourteenth-century melodic concepts and in relation not only to the other songs of the Moosburger Gradual, but also to the larger repertoire of fourteenth-century monophonic song in Latin. Three of these songs (Mos florentis venustatis, Flos campi profert lilium, and Ad cultum tue laudis), with a few exceptions, follow the traditions evident in medieval Latin song from the late eleventh century on, including the consistent use of melodic rhyme, internal repetition of phrase units in both the verses and the refrains, and clear modal centering. Two songs (Castis psallamus mentibus, and his Benedicamus trope, Florizet vox dulcisonans), however, represent a radical departure from these "norms," through the unusual structuring of their melodies. These anomalous songs may reflect Johannes's desire to stretch the training and musicality of the young scholars of the Moosburg church. ~Z7HHGF~ Clyde W. Brockett (Christopher Newport University) The Repertory of Processional Antiphons: Work-in-Progress

In this paper I report my work-in-progress on an edition of processional antiphons post quem non 1200. I will relate the background of this project, accesses and contributions to the collection process, its scope, organization, indices, inventories, and phases with dates completed. A handout will furnish an overview of my method of accomplishing objectives in these phases. I will illustrate the mechanism for transcription of texts and melodies and the incorporation of commentary. This report aims to gauge the value as well as the enormity of the project. ~Z7HHGF~ John Caldwell (Oxford University) What is a neume?

The Latin word neuma, from which the English ‘neume’, like cognate words in other languages, is derived, did not originally refer to a notational symbol but rather to a melisma or musical phrase or even a single pitch. Sometimes it is not entirely clear in which sense a modern or a medieval writer is using the term. However, it would be difficult to eradicate the use of the word in its notational sense (nowadays the primary one in the vernacular languages), and the problems of definition that I wish to address are just as pressing if one substitutes ‘note’ or ‘sign’ for ‘neume’. ‘Note’ is in any case sometimes used more restrictively to mean the sign for a single pitch or tone (and, in British English, for the single pitch or tone itself) in contradistinction to ‘neume’ to mean a compound sign. Is this a useful distinction? Irrespective of that point, how does one decide where one neume ends and the next one begins? How appropriate is the term for Eastern chant? A different issue is the distinction sometimes made between ‘neumes’ in campo aperto and diastematically arranged ‘notes’. This again is problematic, although the point at which, in the development of notation (polyphonic as well as monophonic), the term neume becomes wholly inappropriate is not easy to decide. A final issue is the terminology currently employed to classify different types of (western) neume- notation. The use of unmediated geographical terms, while often unproblematic in the context of a particular discussion, raises issues of consistency and comprehensiveness in classification. Moreover, ‘neumes’ cannot be seen in isolation from alphabetic notations, and a completely comprehensive system of classification would put them within the same framework. Such a system would also be independent of analyses with an underlying teleological purpose. ~Z7HHGF~ Christelle Cazaux-Kowalski (École Pratique des Hautes Études, Paris) Le processionnal du Palimpseste de Turin, ms Grec 2631 de la Bibliothèque nationale de France (Xe s.)

Rédigé vers l’an Mil, le graduel-responsorial-antiphonaire palimpseste de Turin (Bibliothèque nationale de France, ms. Grec 2631) contient un nombre important d’antiennes de procession. Il constitue le plus ancien témoin connu de ce type de répertoire en Italie du Nord, et l’une des premières sources notées, aux côtés des manuscrits aquitains des Xe-XIe siècle. Le répertoire processionnel du Palimpseste de Turin présente des particularités tout à fait notables par rapport aux sources contemporaines et postérieures, italiennes ou non. De nombreuses pièces y trouvent leur premier, voire leur unique témoin connu. Deux aspects principaux seront abordés : le développement précoce des processions pour l’Avent, et l’importance inédite du sanctoral. ~Z7HHGF~ Marie-Noël Colette (École des Hautes Études, Paris-Sorbonne) Les prosules de Moissac

Le dernier cahier du prosaire de Moissac (Paris, N.a.l. 1871) se termine par une liste de prosules d’Alleluia, d’Offertoires et du R. Descendit qui mérite d’être comparée, quant à son contenu et à sa forme, aux listes d’autres manuscrits aquitains, des groupes toulousain et limousin, en particulier les tropaires d’Aurillac et les graduels de Gaillac et de Saint-Yrieix. Les prosules d’Offertoire ont été étudiées par R. Hankeln (1999) mais les prosules d’Alleluia de ce manuscrit ont été ignorées de O. Marcusson lorsqu’il a édité les prosules d’Alleluia dans le Corpus troporum II (Stockholm 1976). On évoquera aussi la présence de prosules des chants de l’Ordinaire que contient ce tropaire. ~Z7HHGF~ Zsuzsa Czagány (Hungarian Academy of Sciences) Historia sancti Mathiae apostoli – Wege eines spätmittelalterlichen Reihenoffiziums zwischen Prag und Trier

Bereits der früheste überlieferte Liber Ordinarius der Prager Domkirche enthält zum Fest des hl. Apostels Matthias ein Offizium, das neben Gesängen aus dem commune sanctorum acht Eigenantiphonen für Laudes und Vesper aufweist. Sämtliche spätere Quellen der böhmischen Offiziumstradition erweitern diesen Zyklus um Antiphonen und Responsorien der Matutin und lassen dadurch eine vollständige historia propria des Heiligen entstehen. Die böhmische Historia zeigt eine überraschende Aehnlichkeit mit dem Matthias-Offizium, überliefert im Ordinarius horarum ecclesie Trevirensis aus dem Jahre 1345, veranlasst von Balduin, Erzbischof von Trier. Im Vortrag wird auf Übereinstimmungen und Unterschiede der beiden Historiae eingegangen, sowie über Möglichkeiten einer direkten Verbindung zwischen den beiden Zyklen diskutiert. ~Z7HHGF~ Martin Czernin (Schottenstift, Wien) St. Patrick – ein irischer Heiliger in Österreich

Der heilige Patrick ist vielen als Nationalheiliger Irlands bekannt, wo man auch in verschiedenen Handschriften Material zu seiner liturgisch-musikalischen Verehrung findet. Diese Verehrung wurde durch die Kongregation der "Schottenklöster", die von Regensburg aus gegründet wurde, auf dem europäischen Festland fortgesetzt und gelangte auf diese Weise bereits im 12. Jahrhundert auch bis nach Wien. In diesem Referat soll nun nicht nur der Entwicklungsweg der Verehrung des Heiligen Patrick zwischen Irland und Österreich nachgezeichnet werden. Ein weiteres Augenmerk liegt auch darauf, was sich danach daraus in Österreich entwickelt hat. ~Z7HHGF~ Cristina Di Zio (Università degli studi di Padova) Canti per San Severo Vescovo di Ravenna

San Severo è stato il dodicesimo vescovo di Ravenna ed è l’unico per il quale disponiamo di una precisa collocazione temporale, in quanto la sua firma è apposta in calce ai documenti prodotti dal Concilio di Sardica in Calcedonia nel 343 d.C. Sicuramente, dopo il protovescovo Apollinare, Severo è stato il vescovo più venerato e recenti scavi hanno portato alla luce, nell’area di Classe, i resti di una imponente basilica a lui intitolata, costruita nel VI secolo accanto alla sua sepoltura. Il culto di Severo si sviluppò ovviamente nell’area di influenza di Ravenna e in Romagna, ma testimonianze il suo nome appare nel calendario di diversi manoscritti delle marche e della toscana. Allo stato attuale delle ricerche non si è ancora trovato un proprio per la messa e i testi a noi pervenuti appartengono all’Ufficio. Sono essenzialmente tre le fonti che ci permettono di ricostruirlo almeno in parte: il breviario-messale ms.79 dell’archivio arcivescovile Udine e il frammento incollato sul contropiatto anteriore del ms. Clm 2538 della Bayerische Staatbibliothek di Monaco entrambi in notazione adiastematica dell’XI secolo e il frammento 103 dell’Archivio Storico Comunale di Ravenna in notazione ravennate del XII secolo. ~Z7HHGF~ László Dobszay (Hungarian Academy of Sciences) Short remarks on the antiphons of Christmas Vespers

The paper asks why the 2nd Vespers of Nativity has five antiphons in many monastic manuscripts (and also in the modern edition), while this cursus requires only four to be sung. To explain the anomaly all psalmic antiphons throughout the year have been studied where such a deviation from the norm can be found. An attempt is made to draw conclusions concerning both the relationship of secular and monastic use at these points, with chronological implications for some antiphons. ~Z7HHGF~ David Eben (Charles University, Prague) Das Fragment von Lucca und die Entwicklung des Adventsoffiziums

Die Liturgie des Stundegebets verfügt nicht über so zahlreiche Dokumente aus der Karolingerzeit wie die Messe. Die älteste Quelle für das Offizium ist das sogen. Fragment von Lucca (Biblioteca Capitolare 490), wo in Form von Textinzipiten das Offizium der Adventszeit aufgezeichnet wird. Die Responsorienserien dieser Quelle wurden bereits von R.-J. Hesbert für seine Untersuchung im Corpus Antiphonalium Officii V-VI verwendet. In meinem Beitrag konzentriere ich mich auf das Repertoire der Antiphonen in diesem Fragment. Die Identifikation der einzelnen Stücke und der Vergleich mit späteren Quellen zum Adventsoffizium bringt neue Erkenntnisse für die Entstehungsgeschichte des Offiziums. ~Z7HHGF~ Stephan Engels (Kunstuniversität Graz) Hirsau und die Folgen - Gedanken zu Jürg Stenzls Beitrag "Musik in der Salzburger Geschichte des Mittelalters" in der neuen "Salzburger Musikgeschichte"

Im letzten Jahr erschien nach langen Vorarbeiten eine Musikgeschichte Salzburgs (Jürg Stenzl, Ernst Hintermaier, Gerhard Walterskirchen: Salzburger Musikgeschichte Vom Mittelalter bis ins 21. Jahrhundert. Salzburg: Pustet 2005. 612 Seiten, zahlr. Abb., 2 CDs mit ausgew. Musikbeispielen. ISBN 3-7025-0511-3). Sie ersetzt nach 70 Jahren Constantin Schneiders "Geschichte der Musik in Salzburg" von 1935 und wendet sich gleichermaßen an Musikwissenschafter und Musikliebhaber. Diese Musikgeschichte enthält natürlich auch ein ausführliches Kapitel über die Zeit des Mittelalters von Jürg Stenzl, Ordinarius am Institut für Musik- und Tanzwissenschaft der Paris- Lodron-Universität in Salzburg. Nach den umfangreichen Forschungen der letzten Jahre über die mittelalterliche Musikgeschichte Salzburgs, auch von Mitgliedern von Cantus Planus, durfte man sich mit Recht eine wertvolle Zusammenfassung und Aufarbeitung des aktuellen Forschungsstandes erwarten. Ob Stenzls Artikel diesen Erwartungen gerecht wird, soll hier kurz besprochen werden. ~Z7HHGF~ Pávlos Erevnídis (Athens) Geography of Music, Cross-cultural Comparison and a mid-13th century Event. Described by the Byzantine Theorist George Pachymeres.

The existence of a theoretical system in a culture plays a central role since it has an indirect relation with its identity and distinction. As a result, the priority to distinction leads the theoretical sources of a culture not to be always illuminating with regard to the interaction with other cultures they come into contact with. In this manner – and given the lack of empirical data- the existent medieval sources do not ‘permitt’ the modern researcher to study such phenomena, creating an isolated “theoretical” environment where the impression is given that the religious-political difference was relatively analogous to the cultural. The case of two professional musicians both musically active in the 13th century first in Seljukid and then in the Byzantine palace, indicates that the performance practice of those two geographically close cultures was not as distant as implied in the rhetoric of distinction of their apparently totally different musical systems. The development then of a self-defined Geography of Music can contribute to a more balanced approach of the existing material. In such an attempt, it is necessary to study some historic-geographical characteristics of the performance practice as well as the parameter of consciousness in relation to the transformation of an ‘official’ musical theory. ~Z7HHGF~ Judit Fehér (Hungarian Academy of Sciences) Ornate tones? A particular group of short responsories

Within the category of short responsories we find a group of pieces with characteristics more like those of great responsories. The responsories for the Little Hours and Compline of the Lenten period are usually assigned to this transitional group, because of their shorter texts and prolixum-like melodies. When working with Hungarian medieval antiphoners and notated breviaries I encountered melodies which could be classified as another distincive group. These items are more embellished than the basic and widespread types of short responsories. However, in contrast to the Lenten ones, they can appear with more than one text and therefore behave like tones. This paper will describe the form and musical make-up of these melodies and will try to give an overview of their use outside Hungary. ~Z7HHGF~ Gabriella Gilányi (Hungarian Academy of Sciences) Usual chant, unique mode – melodic alternatives of tempus per annum in the 15th-century antiphonals from Kranj

The liturgical content of two Aquileian codices from Kranj (SI-Lna 18, 19) has been available in the CANTUS-database for a long while. Comparing these office-sources with others reveals a number of surprising melody-assignations, attached mainly to archaic per annum items. Having studied and grouped these modal discrepancies, my paper tries to demonstrate how far the opportunities of melodic variations in the Office can be extended in Europe, the Central-European region, or even within a single rite. ~Z7HHGF~ Jean-François Goudesenne (IRHT Orléans) Un missel de Noyon avec versets d’Offertoire (XIVe s.) : Réévaluation d’une prétendue ‘décadence’ du chant grégorien A Missal from Noyon with Offertory verses (XIVth c.) : reevaluating a global decadence of

Un missel à l’usage de Noyon du XIVe s. (Abbeville 7) s’inscrit dans la tradition du célèbre antiphonaire dit ‘du Mont-Renaud’ et du graduel conservé à la British Library (Egerton 857). A la différence de ce dernier, ce missel pourvoit près de la moitié des offertoires de leurs versets, ce qui semble plutôt exceptionnel à cette époque. Ce constat révèle des chaînons manquants dans la transmission du cantus dans cette église d’une importance essentielle en Francie occidentale et dans l’Empire carolingien. Par ailleurs, l’ordonnance liturgique et les variantes mélodiques corroborent une grande stabilité de la ‘tradition grégorienne’ dans cette grande métropole des Royaumes Francs. Voici donc une découverte qui appelle finalement à une réévaluation de la transmission du chant grégorien et à une remise en cause de préjugés simplistes imposant une ‘décadence’ systématisée du chant grégorien au Moyen âge central et tardif. A XIVth c. Missal from the use of Noyon (Abbeville 7) seems to be a far-off descendant of the famous X-XIth c. antiphonary of ‘Mont-Renaud’, as well as the British Library gradual (Egerton 857). The Missal transmits curiously verses for almost half of the Offertories cycle, which seems very rare since the XIIth c. and all the more at that time. Would this specificity reveal a lost link for the transmission of Cantus in this important Frankish church in the Carolingian Empire ? Moreover, the liturgical ordo as well as many melodic variants confirm a very stable ‘Gregorian tradition’, more than in other cities or areas. This paper invites to contribute to a new examination of the Gregorian Chant transmission and to criticise the yet well established concept of ‘decadence’, sometimes systematically applied – consciously or not – in the studies of the ‘late’ sources with square notation. ~Z7HHGF~ Barbara Haggh-Huglo (University of Maryland, College Park) The historia for St. Dominic of Silos

Composed soon after the death of the influential abbot who gave his name to what would become one of Spain’s best known monasteries, the historia dates from the years just after the Reconquista. Its first surviving copy is in one of the earliest complete monastic antiphoners, London, British Library, Ms. Add. 30.850, which was written at Silos in Visigothic script and with a unique notation showing the meeting of the Mozarabic and Gregorian traditions. An analysis of the historia in this manuscript and of seven antiphons and seven responsories for the saint, some of which were borrowed from the offices for ‘eastern’ saints, allows us to observe its anonymous creator(s) at work in a remarkable time of transition. ~Z7HHGF~ Roman Hankeln (NTNU Trondheim) A New Fragment of the Regensburg Dionysius Office

The paper discusses the contents of a single 11th-century parchment leaf attached to the book-cover of the 13th-century manuscript Munich, Bavarian State Library clm 21557. This book was once part of the library of the 11th-century Benedictine monastery of Weihenstephan near Freising. The fragment represents an early collection of pieces for the liturgical feast of St. Dionysius as it was celebrated at the Benedictine monastery of St. Emmeram in Regensburg from 1049 onwards. The fragment is a newcomer among the documents of the so-called Dionysius forgeries of St Emmeram’s, which were carried out between 1037 and the end of the 11th century, aiming to underline the claim of the monks to possess the relics of Dionysius the Areopagite, patron saint of the royal Frankish abbey of Saint- Denis. The elevation of the saint to the rank of patron of St. Emmeram’s required his liturgical veneration. Two extensive 11th-century sources from St. Emmeram are known to transmit versions of the new office composed for this purpose. ~Z7HHGF~ David Hiley (Universität Regensburg) Anglo-Saxon Saints in Hesse: The Proper Offices for St. Boniface and St. Wigbert

Anglo-Saxon churchmen played an important part in the Christianization of Hesse, and proper offices for two of them survive. Boniface (Winfrith) is a household name. Born about 675 in Devon, he received a commission from Gregory II to preach the gospel in Bavaria and Hesse (his felling of the sacred oak at Geismar is famous) and he also worked in Thuringia. In 732 Gregory III sent him the pallium, giving him powers to consecrate bishops in Germany east of the Rhine. He gave the church in Bavaria its diocesan structure, reformed the church in France and crowned Pippin in 751. He was killed while revisiting Frisia in 754. He was buried in Fulda, his most important monastic foundation. Although Boniface is universally present in liturgical calendars, no proper office for him is known before that recorded in the antiphoner Fulda Aa 55, of the 14th-15th century. On stylistic grounds, however, one may suggest a date of composition in the 11th century (and a possible composer). Wigbert is less well known. He was one of Boniface's many Anglo-Saxon helpers. He became abbot of Fritzlar, where his most important disciple was Sturmi, future abbot of Fulda. He died in about 738. A proper office for Wigbert is found in a neumed source of the 11th century, and later antiphoners of Fritzlar also contain it. It is stylistically conservative, so the chants for the disciple Wigbert appear to be older than those for the master Boniface. ~Z7HHGF~ Michel Huglo (CNRS Paris) Les prologues de l’antiphonaire de Leon

Les quatre prologues de l'Antiphonaire mozarabe de León (1066-1070), publiés par les moines de Silos en 1928, par Manuel C. Diaz y Diaz en 1954, enfin par José Vivès et Dom Louis Brou en 1959, ont été interprétés à différents points de vue en fonction du contenu de l'antiphonaire: par Higino Anglès (1938), par Jaime Moll (1975), par Manuel Diaz y Diaz (1954), enfin par Don Michael Randel (1969). Il restera à réévaluer la date de ces différents prologues et leur relation avec les conciles de Tolède, notamment celui de 633 présidé par Isidore de Séville, qui a légiféré sur la liturgie et le chant dans les églises d'Espagne, de Lusitanie et de Gaule. Enfin, il conviendra de déterminer si, pour ce genre de Prologue, il existe une relation de causalité avec ceux qui ont été composés jusqu'à la fin du Moyen Age en tête des différentes 'éditions' de l'antiphonaire grégorien. ~Z7HHGF~ Marit Johanne Høye (Trondheim) The Kyrie Chant – Some Aspects of the Earliest Transmission and the North-South Relation

My recent examination of the Kyrie chant in the northern French and the Aquitanian transmission has provided new information on the Kyrie repertory. The research which includes analyses of Kyries recorded in Aquitanian and Swiss manuscripts before mid-10th century, has shed light on the relationship between the Kyrie melodies in the northern French and the Aquitanian repertory. The findings suggest the need for a reconsideration of the early form of the Kyrie melodies and the melodies’ association with the Latin texts and indicates a pattern of transmission for the early Kyrie chant. ~Z7HHGF~ Theodore Karp (North-Western University) The Year 1738 in Chant

The year 1738 witnessed the appearance of no fewer than five publications of importance for the history of chant. These include the Graduale Sanctae Lugdunensis Ecclesiae (issued by Claude Journet in Lyon), the Graduale Autissiodorense (brought out by Nicolas Lanquement in Orleans), the Missale Parisiense, illustrissimi et reverendissimi in Christo patris dd. Caroli Gaspar Guillelmi di Vintimille, é comitibus massiliae du luc Sumptibus Bibliopolarum usuum Parisiensium, and the winter portions of two Graduals associated with this Missal, one published by J.-B. Coignard, the other by J. C. Ballard. The first of these five volumes is largely arch-conservative, exhibiting features that had seemingly vanished centuries previous. It raises difficult questions concerning the nature of its antecedents. The second of the five is for the most part quite the opposite. It is a Neo-Gallican source with many texts and melodies of recent origin. Yet it too has certain features that could be of much earlier origin, yet unknown in the intervening centuries of Gregorian chant. The remaining three sources are among the more influential Neo-Gallican publications of the period 1725-1850. It is my purpose to clarify the nature of these sources, particularly the first two, and to examine the problems that they pose to the historian of music and liturgy ~Z7HHGF~ Viatcheslav Kartsovnik (Universität Hamburg) Honorius Augustodunensis of Regensburg and the Liturgical Tropes of Southeastern Germany ~Z7HHGF~ Robert Klugseder (Regensburg University) Melodic traditions in South German antiphoners: 100 "lieux variants"

A synopsis of chant sources (antiphoners) with statistical analyses of typical melody variants in about 20 South German and Italian sources. ~Z7HHGF~ Lori Kruckenberg (University of Oregon) Preserving the Old or Promoting the New: Arguments For and Against sequentiae novae

Modern historians of chant have traditionally designated the late eleventh-, early twelfth-century sequence as representing a “transitional phase” between the First and Second Epochs of sequence writing. Drawing on the comments of medieval writers, I will suggest that singers and auditors alike were aware of major transformations in the genre during this “transition” and that these changes were received as anything but the graduated experiments and “works-in-progress” as the designation implies. Indeed several writings from this period of the central Middle Ages record reactions – both positive and negative – to the transformation of the sequence and related genres. Far from being immature works or not yet meeting the standards of future generations of the Second Epoch, the sequentiae novae of 1050–1150 demand a second reading and hearing by the modern scholar and listener, and a better label to capture more accurately their place in the history of the genre. ~Z7HHGF~ Frank Lawrence (University of Dublin) The Provenance of Manuscript Rawl. C. 892 in the Bodleian Library, Oxford

The question of the provenance of the mid-twelfth century Irish Gradual, MS. Rawlinson C. 892 has not been resolved satisfactorily to date. It was Derek Turner in his edition of the Missal of the New Minster, Winchester who first suggested a possible Downpatrick origin for this manuscript. On more than one occasion Alejandro Enrique Planchart has assigned the manuscript to Christ Church Cathedral, Dublin and the entry on the DIAMM website implies a possible Winchester provenance. Part of the repertory of this important source has been studied before. It was one of the sources used in the Solesmes study for Le Graduel Romain where its close relationship to the pre-Conquest tradition of Winchester reaching back to Corbie and Saint-Denis was clearly established. David Hiley placed it in the context of English pre-Conquest and Norman chant traditions. However, the fusion of various chant traditions so far suggested in these studies seems difficult to explain if our view is restricted to England alone. This paper will suggest that the provenance question is fundamental to a better understanding of this important source. It will re-examine the case for a Downpatrick or Dublin provenance, using fresh palaeographical evidence and hitherto untapped historical data to suggest, rather, a provenance in the southern Irish province of Munster. ~Z7HHGF~ Jeremy Llewellyn (University of Basel) Ruinous or Reformatory?The Erasure of Proper Tropes in Modena, Biblioteca Capitolare, O. I. 7

The disappearance of Proper tropes around 1100 and the rise of other forms of liturgical composition have long been noted, not least by members of Cantus Planus (David Hiley on St. Emmeram, Margot Fassler on Chartres and Gunilla Iversen on Nevers). These studies have analysed repertorial shifts between successive generations of manuscripts from the same institution. My paper sets out to discern a similar repertorial shift, albeit in one and the same manuscript: Modena, Biblioteca Capitolare, O. I. 7, a gradual with sequentiary and troper from the end of eleventh century. It will systematically examine which Proper tropes were erased – introductory tropes seem to have been spared – and analyse new musical formulations that were entered. It would appear as if, on the one hand, conservative elements were intent on pruning back the Proper tropes whilst, on the other, progressive elements remoulded aspects of modality. Thus whilst the material appearance of the manuscript may indeed reveal an ‘abrasion ruineuse’ (Cattin), a process of repertorial and musical transformation – possibly in connection with institutional reform – ultimately saved the manuscript for posterity. ~Z7HHGF~ Claire Maître (Institut de Recherche et d'Histoire des Textes (CNRS), Paris) Les répons de psalmis à l'abbaye de Saint-Denis, du XIe au XIIe siècle

L'abbaye de Saint-Denis, fondée au VIIe siècle par la reine Bathilde, épouse de Dagobert, a toujours entretenu des rapports étroits avec la royauté. L'une des principales abbayes de la Gaule, elle est un observatoire privilégié du chant et de la litrurgie monastiques médiévales. Par chance, deux témoins détaillés des chants de l'office célébré aux XIe et XIIe siècles dans cette abbaye sont conservés encore aujourd'hui. Le premier de ces textes est une table non notée des incipits de ces chants. Elle a été copiée à la fin d'un graduel de Saint-Denis conservé aujourd'hui à la Bibliothèque Mazarine, sous la cote 384 et daté des années 1030. Le deuxième texte est un antiphonaire, conservé à la Bibliothèque nationale de France sous la cote latin 17296, et daté du milieu du XIIe siècle. Un siècle sépare donc ces deux sources. Un siècle important pour la liturgie, puisqu'il préside à sa fixation dans une transmission écrite bien normalisée. Il n'est pas fréquent de bénéficier pour une même abbaye d'une double documentation, et remontant si haut dans le temps. La publication de la table du XIe siècle (Claire Maître, Graduel de l'abbaye royale de Saint-Denis, Paris, Bibliothèque Mazarine, manuscrit 384, Editions Actes Sud, 2005) permet maintenant l'étude de cette évolution dans une des premières abbayes de Gaule. Une comparaison intégrale serait certes très instructive, mais dépasserait les limites d'un exposé. Un choix s'est avéré nécessaire, il a porté sur les répons de psalmis. Et cela pour plusieurs raisons : § Les répons ont été molins étudiés par les musicologues que les antiennes, § Les répons De psalmis, sont parmi les plus anciens du chant médiéval, § ils ont été étudiés par dom Leroux, dont le travail était une bonne base de départ, § enfin, peut-être la raison la plus importante : dans les nocturnes, le nombre des répons se fixe plus tardivement que celui des antiennes. Dans la table du XIe siècle, les antiennes sont globalement fixées au nombre classique ; ce n'est pas le cas des répons, qui ne sont majoritairement pas limités au nombre de 12 par office, comme ce sera le cas dans l'antiphonaire du XIIe siècle. Cet ensemble de répons est donc un observatoire privilégié de la fixation du corpus : ils excèdent le nombre de répons chantés à chaque office. A partir du moment où leur choix n'est plus laissé à l'appréciation du chantre, il faut en éliminer. Quels vont être les critères de choix: le texte ? la musique ? les deux ? aucun critère identifiable? tel est l'objet de cette communication. ~Z7HHGF~ Rebecca Maloy (University of Colorado at Boulder) Offertory Melodies in Francia, Rome, and Milan

It is often observed that Old Roman, Milanese, and Old Beneventan chant have specific stylistic traits that distinguish them from Gregorian chant, such as an ornate texture, repetition, and stepwise motion. These stylistic characteristics have played a role in debates on the origins of the Gregorian melodies. Some view the “Italianate” features of Old Roman chant as native Roman characteristics that were transformed in the hands of the Frankish cantors. This paper explores this hypothesis through comparative analysis, focusing on a body of psalmic offertories common to the Gregorian, Old Roman and Milanese dialects. The Milanese versions are probable borrowings from the Roman or Gregorian tradition. Most employ the Roman psalter as their textual basis. In Milan, they serve as items for dominical or general sanctoral use. The Milanese melodies are similar to the Gregorian versions in underlying structure, lacking the formulas that are so pervasive in the Old Roman offertories. Occasionally, however, they exhibit an unmistakable structural resemblance to the Old Roman version rather than the Gregorian. It is thus unlikely that the Milanese cantors learned these melodies in their fully formed Gregorian versions. In terms of surface style and melodic vocabulary, moreover, the Milanese versions are similar to the Old Roman, confirming the impression of a native “Italianate” style. After illustrating these trends, I explore their implications for the Gregorian-Old Roman question. The analysis suggests that the Milanese cantors learned these melodies in a form that had the certain stylistic traits associated with the Old Roman versions, but structural characteristics closer to the Gregorian. It is probable that the melodies underwent further development in all three traditions, according the native stylistic tendencies of each dialect. ~Z7HHGF~ Anne Mannion (University of Limerick)Evidence of a Continental Link with Fleury in a Noted Missal from Medieval Exeter

To date, no in-depth study of EXcl 3515 has been undertaken. An examination of this noted missal reveals many layers of alterations and additions to the original text by various hands over 200-300 years. The post-Pentecostal Alleluias reveal an identical series to that of St. Benoît-sur-Loire. However, other similarites with Fleury can be found in the notation in the main body of the Temporale and Sanctorale and an initial investigation of melodic variants suggests a possible affinity with the melodic tradition of the Loire region in France. It is the intention of the proposed paper to address these issues with regard to the core question of tracing a Continental Use in the Exeter Missal. ~Z7HHGF~ Maja Marcussen (Trondheim) Modal concepts and melodic language in West Frankish Introit trope repertories

It has been known for some time that the Introit trope repertories of medieval Europe contain trope melodies with different relations to the modal system applied to Gregorian Introits. Evans first pointed to the existence of trope lines with two different melodic versions for the same texts (Evans 1970, ‘Northern French’). The two traditions are associated with different geographical areas: North French and South French. The North French melodies employ a as basis tone to Introits of the seventh mode, one of the modes with G as final. The South French or Aquitanian melodies employ G as basis tone, seemingly presenting the mode of the Introits in question. I have tried to compare the North French and South French melodic variants to their respective trope repertories, and to contemporary traditions of modal theory. My findings are as follows: Before and up to 900, melodic qualities of chants influenced their classification by the modal system. At this time some, probably many, Frankish communities probably combined melodies by techniques which were of practical importance to each community irrespectively of the modal system. One of these techniques must have been the practice of combining melodies by preferably the same tone, or by the maximum interval of a third. Evidence for such a practice can be found in the use of psalm tone cadences, treatises, and the earlier discernible layer of North French Introit tropes. This principle probably allows for the combination of trope melodies based on a and ending on a to Introits with G as final. A trope melody based on D and connected to a G-modal Introit by an ascent to G is another acceptable way of combining two melodies in such a tradition, as is the case with the combination Hodie cantandus est – Introit Puer natus. By 900 several treatises from northern Europe refer structural concepts of the modal system as the only necessary determinants of mode. At this time, Introits with G as final were given trope melodies clearly expressing the final, tenor and range of the Introit’s mode. These trope melodies probably originated in northern France. The melodies seemingly consist of recurring melodic phrases, or type melodies. The Introit trope melodies in theoretically based type melodies were transmitted to Southern France or Aquitaine before ca. 936, when they were copied into the troper Pa 1240. These trope melodies, and treatises reflecting a structurally determined modality, probably inspired activity in the application of modal theory in music practice and composition in Aquitaine. This activity can be seen partly in a large-scale revision of trope melodies based on a used with Introits with G as final, and partly in a large number of new trope melodies similar to the North French theoretically based type melodies. A practice of mainly ending trope melodies on the final and tenor of the Introit’s mode is clearly discernible. The revision and the expansion of the repertory must have been completed before ca. 990, when most of the trope lines in question were copied into the manuscript Pa 1118. The centre of this recension was not St Martial, but rather a centre south of St Martial ceding in importance to this city in the period 950-1000 (Doyle 2000: Abstract). The principles discernible in the revised Aquitanian versions seem echoed in the treatise known as the Dialogus written in northern Italy around 1000, and in ’s Micrologus. ~Z7HHGF~ Óscar Mascareñas (University of Limerick)Innovation and Freedom in 10th c. Western Chant: Introits as evidence

This paper shows the results of a study made to a group of introit chants of the Frankish transmission of Gregorian chant, with the purpose of exploring the realisation of tonal structures regarding the use of the quilisma and oriscus. The study uses six notated sources from the 10th and early 11th centuries and compares the places – from a structural point of view – where at least one of the sources has one of those two signs. From this comparison, which shows that the percentage of agreement between all the six sources is of c. 31 %, a theory of tonal structure realisation is proposed, suggesting that Gregorian chant was in continuous innovation, and its performance implied a certain amount of freedom in the selection of specific melodic options at the level of tonal structures. These results are in line with those made to a set of formulae in second-mode tracts (i.e. soloist's chants), suggesting that the procedures would also apply to schola chants, such as introits, and that the processes governing those procedures would be an intrinsic feature of the realisation/transmission of the melodies. ~Z7HHGF~ Fumiko Niiyama (Salzburg) Der Äbtissinen Begräbnisritus von Stift Nonnberg zu Salzburg: Beispiel für den lebendigen Austausch zwischen den mittelalterlichen Frauenklöstern in Salzburg

Nach dem Jahr 1000 gab es eine große Entfaltung der Klöster in Österreich, wobei den Geist der Orden wesentlich mitbestimmende Frauen, beispielsweise die Hl. Erentrudis und die Hl. Hemma bedeutend waren. Damals wurden von Nonnberg aus mehrere Benediktinerinnenklöster gegründet. Zu Beginn des 12. Jahrhunderts gab es sogenannte Doppelklöster sowohl bei den Benediktinern als auch bei den Augustinerchorherrn, denen auch ein Nonnenkloster angegliedert war. Dabei ist das Kloster der Petersfrauen bei der Erzabtei St.Peter in Salzburg oder das Frauenkonvent bei Stift Admont, welches von Hl. Hemma gestiftet wurde, und auch das Chorfrauen bei den Salzburger Chorherrn im Dom zu nennen. Diese waren mit den Frauen auf dem Nonnberg von Anfang an immer wieder in engem Kontakt. (Erzbischof Konrads I. Schwester Diemut III. war Äbtissin auf dem Nonnberg. Er sendete eine Novizenmeisterin von Nonnberg zum Admonter Frauenkonvent und ließ das Kloster dort nach benediktinischer Tradition besiedeln.) Nonnberg war seit seiner Gründung um 714 an ein eigenständiges Kloster und mit dem Dom und auch St.Peter gleichberechtigt. Dennoch waren beide Klöster nach salzburgischem Ritus eng miteinander verbunden. In meinem Vortrag möchte ich diese enge Verflechtung, dennoch gepaart mit eigenständigen Elementen, zeigen. Item wenn ein abtissin stirbt haben wir an zw lesen das verba mea dy Collecten Omnes domine pro tua pietate... vnd Absolue vnd dy weyl leutt man zw allen klöstern vnd in der pfarr.. Item des wacht vnd sy yn der pfarr stet so lesent dy frawn von dem tuem darnach auch ein placebo Item des morgens so geenn wir hinab vnd stenn in vnseren välen bey dem Sellambt in der pfarr das sinngent dy frawn von sand peter allein. Vnd wenn man gewandelt hat so kümpt dy procession vnd tregt man dy par in dem Tuem da singen wir dy Selmeß mit den zwein chörn ... Was das Totenofficium betrifft, welches schon Knut Ottosen in seinem The responsories and versicles of the Latin Office of the Dead betrachtet hat, ist Nonnberg tatsächlich einzigartig. Seine Lesart stimmt mit den Nonnbergischen Codices überein, unterscheidet sich aber sowohl von der von St. Peter/ Petersfrauen als auch der der Chorfrauen /Dom, und sogar vom Breviarium Salzburgense 1650. ~Z7HHGF~ Ann-Marie Nilsson (Uppsala) Chants for the translatio beate Katarine in Vadstena 1489

A relation about the translation of Katarina, St. Birgitta's daughter, that took place in Vadstena summer 1489, is preserved. It was written by one of the brothers of the convent, Nicolaus Ragvaldi (Nils Ragvaldsson) and is unusually rich in details. Nils has related the preparations for the feast, the guests, the ceremonies, the reactions of participants and spectators etc. He also mentioned by name chants that were sung during the main procession and in the services. A student in Uppsala, whom I have supervised, chose to write a little thesis on this subject. In the C-collection at Uppsala University Library and among the fragments in the Swedish National Archives she found the processional chants written down during the same period (ca 1380-1400) when the translation took place and, presumably, in the convent or at least in the diocese where it was situated. In this paper, I will present the chant melodies sung and discuss their sources and the function of these chants in the procession of translation. ~Z7HHGF~ Shin Nishimagi (Paris) Le tonaire du De modis du manuscrit Cambrai, Médiathèque municipale, Ms. 172 (fin du XIIe siècle)

Le traité De modis du manuscrit Cambrai, Médiathèque municipale, Ms. 172, comprend un tonaire qui se divise en huit sections correspondant aux huit modes. Chaque section est constitué de plusieurs éléments. Le premier élément commun est l'extrait des huit derniers chapitres du Dialogus de musica. Il joue le rôle d'introduction pour la section de chaque mode. Le deuxième élément est le chant qui décrit la nature des modes avec les termes hellénistiques et arithmétiques à la manière de devinettes. Ce chant est précédé, dans les sections du deuxième mode au quatrième, d'un texte fragmentaire. Dans une section du premier mode, les définitions des termes concernant l'accord suivent le chant sur la nature des modes. Le dernier élément est le tonaire principal ou proprement dit, composé de liste d'antiennes, de répons et d'introïts. Le tonaire de ce traité utilise des termes spécifiques tels que le mot informatio qui ne se trouve que dans le tonaire de la Grande-Chartreuse et dans un tonaire aquitain du XIIe siècle. Dans les chants sur la nature des modes, chaque mode est appelé selon la nomenclature topique pseudo-grecque, mais en suivant l'ordre des aspects d'octave de Boèce, c'est-à-dire hypodorien, hypophrygien, hypolydien, dorien, etc. Si on les compare avec les références du CAO et la base de données Cantus, les exemples des chants apparaissent pris sur un modèle originaire du sud-ouest ou du nord de la France avec des influences provenant de l'Italie ou de l'Espagne. L'étude de ce tonaire devrait permettre de connaître plus précisément l'origine du traité. ~Z7HHGF~ Edward Nowacki (University of Cincinnati) Transposition and the Confinalis

I examine the received definition of the confinalis and compare it to definitions in the primary sources. The term was coined only in the thirteenth century, by Amerus, though it is clearly a synonym for a concept introduced by Hucbald some 350 years earlier and known variously by the names affinis, socialis, consocialis, compar, and affinalis. Medieval authors were careful not to confuse notes understood as affines—steps in the gamut to which the finales could be transposed—with the same notes understood as mediae chordae—the notes that divided untransposed authentic modal octaves at the fifth step. Only in the Renaissance did theorists conflate the two meanings and add the confinalis to the list of privileged pitches, along with the repercussio and the terminal notes of the psalmodic differentiae, that could serve as alternatives to the finalis for concluding polyphonic compositions without violating their nominal mode. The rigor of medieval theorists in limiting the confinalis to transposition ex toto obliged them to regard transposition ex parte as an abuse. Yet we can detect in their objections testimony that termination on the affinis entailed more than merely stopping on the fifth step of the mode, however artfully. In every case the examples cited involve a shift of tonal center, at least in the final phrase. Moreover, the inability of theorists to comprehend the phenomenon within the framework of received doctrine should not deter us from recognizing it in the practice of composers, for some evidently considered the subordinate relation of the fifth scale step to its final to be repeatable in receding orders of hierarchical magnitude (i.e., at intervals of the fifth) along with all the other appurtenances of finality. In realizing the possibilities latent in the concept of confinality, these composers were not merely solving notational problems—the original pretext for the doctrine of transposition—but were expanding the creative resources of musical composition. ~Z7HHGF~ Anette Papp (Budapest) Das Verhältnis zwischen den mittelalterlichen Introiten in Ungarn und ihren protestantischen Gegenstücken.

Als Fortsetzung der mittelalterlichen Tradition übernahm die ungarische Reformation von den bis dahin schon existierenden Gattungen und liturgischen Formen bestimmte Sätze, die den neuen Ideen, der Lehre und den liturgischen Zielsetzungen entsprachen, und übertrug sie, nunmehr in der Muttersprache erklingend, in eine neue und reformierte Liturgie. Hunderte von Melodien wurden ins Ungarische übertragen, und diese neuen liturgischen Lieder in der Muttersprache wurden in Gradualbücher genannten Manuskripten, und in zwei gedruckten Büchern festgehalten, und bis zum 16-17. Jh. – in einigen Fällen sogar bis zum 19. Jh. – verwendet. Bei den mittelalterlichen syllabischen Melodien wählten die protestantischen Autoren vor allem aus dem Material der Nebengottesdienste, aber in den meisten Gradualbüchern erhielten auch die Introitus der wichtigsten Feste einen Platz, wenn auch in geringer Anzahl. Während meiner Arbeit habe ich mir zunächst einen Überblick über die wichtigeren Introitusrepertoires der Gradualquellen verschafft, und deren Vorgeschichte erschlossen; danach habe ich die Melodien der Gradualquellen mit den Sätzen, in erster Linie aus ungarischen mittelalterlichen Quellen verglichen, und mit einigen Introitus der Quellen, die zum Gebiet der pentatonisierenden Dialekte gehören. Das Ziel der Analyse ist eine vergleichende Arbeit gewesen, wobei ich nach Antworten gesucht habe, welche näher oder ferner liegende Musik- und Textmuster konkret hinter den einzelnen Introiten stehen könnten; andererseits, inwiefern das überlieferte Material selbstständig ist, ob die Introiten nur Übersetzungen der lateinischen Sätze wiedergeben, oder ob es unter ihnen selbstständige Sätze gibt, die nicht aus der mittelalterlichen Tradition stammen, oder aus anderen protestantischen Gebieten zu dokumentieren sind. ~Z7HHGF~ Nils Holger Petersen (Copenhagen) Liturgical Processions: Performativity and “Memory”

Rupert of Deutz in his early twelfth-century Liber de divinis officiis, comments on liturgical processions as memorializing biblical places, events or commands. This is not surprising since some of the most important liturgical processions represent major events from the life of Christ, notably the processions on Palm Sunday Good Friday. The idea of liturgical memorization of biblical places, events and figures has roots far back in liturgical history, in the Eucharist from the very earliest Christian period, and – in the context of processions – attested to in Egeria’s late fourth-century descriptions of the Jerusalem liturgy. The idea was strongly emphasized in Amalar’s allegorical interpretations of the liturgy and from there taken up in medieval liturgical commentary throughout the Middle Ages. In this paper, I propose to apply the concepts of memory and performativity – with a point of departure in recent theory: Jan and Aleida Assmann’s concept of a “cultural memory” and Erika Fischer-Lichte’s concept of performativity – to medieval processions of the twelfth century partly through discussions of concrete liturgical examples, partly through contemporary liturgical commentary. ~Z7HHGF~ Andreas Pfisterer (Universität Regensburg) Hesbert, Amalar und die fränkische Responsorien-komposition

René-Jean Hesberts Untersuchungen zur Textgeschichte des Offiziumsantiphonars sind vielfach mit Skepsis aufgenommen worden, sowohl was die Methode als auch was die Ergebnisse betrifft. Anhand weniger Einzelbeispiele des Responsorienrepertoires soll gezeigt werden, dass sich einerseits die Methode mit wenig Aufwand verbessern lässt, dass andererseits die Ergebnisse wohl richtiger sind, als Hesberts Kritiker glaubten. Durch die Gegenüberstellung von Zeugnissen Amalars mit der direkten Überlieferung treten Indizien zutage, die auf den Beginn der fränkischen Neukomposition von Responsorien erst um die Mitte des 9. Jahrhunderts weisen. ~Z7HHGF~ Franz Karl Praßl (Graz) Neues zum Salzburger Liber Ordinarius (A-Su M II 6)

In diesem Paper werden weitere Studien zum Salzburger Liber Ordinarius präsentiert, die Teil seiner baldigen Edition sein werden. Zu den Hauptfragen der letzten Zeit zählte die Diskussion um den Einfluß der Liturgie der Abtei St. Peter auf den Dom, und damit der Einfluß Hirsauer liturgischer Gewohnheiten. Es überwiegen gegenüber einigen Übereinstimmungen jedoch die signifikanten Unterschiede, vor allem im Sanktorale. Der Wille zur liturgischen Eigenständigkeit des Domes – auch gegenüber anderen Chorherrenstiften – ist deutlich ausgeprägt. Das sogenannte Nonnberg-Dom- Missale (D-Mbs clm 11004) zeigt einen Blick in die Liturgie um und vor dem Ordinarius. Nicht bearbeitet wurde bisher der Tonar, der sich aus den Randglossen des Antiphonarteils und den Angaben im Gradualteil zusammenstellen läßt. Wir werden erste Beobachtungen präsentieren. ~Z7HHGF~ Ivana Perkovic Radak (Belgrade) Serbian chant: analytical perspectives through the history

Different analytical approaches to Serbian chant (from the earliest Serbian writers and composers, Egon Wellesz, famous church singers, to the contemporary musicologists dealing with this subject) will be examined from the historical point of view. I shall propose a refined method, taking account of the most recent studies in this field. ~Z7HHGF~ Volker Schier The Late Arrival of an Early Saint: Sixtus Tucher's Feast for Saint Monica

The introduction of the feast of Saint Monica into the liturgy of the church of St. Lorenz in Nuremberg with an unusual mass formula occurred in the year 1504. It is one of the latest feasts that was adopted in Nuremberg before the introduction of the Reformation ended the veneration of the saints. With this paper I want to explore the multisensory strategies employed by provost Sixtus Tucher who boosted the cult of Saint Monica with his private donation of a mass. ~Z7HHGF~ Kate Skidmore (Regensburg University) Comparisons of manuscript tradition in the use of melodic phrases in Great Responsories

Classifying a chant by text incipit, mode, feast and liturgical position is the common procedure which makes database searches in CANTUS and CAO-ECE possible. If musical phrases are encoded as an alphabetic string, they can be searched for and sorted in the same way. The font "Volpiano", developed at the Institut für Musikwissenschaft at the University of Regensburg, allows a chant to be entered into a database as an alphabetic string, displayed on screen as notes on a staff. I have used this font to transcribe all the Great Responsories in the twelfth-century manuscript Paris 12044 from Saint-Maur-des-Fossés. I have then divided all the responds into their component musical phrases and entered each phrase into a database. The computer delivers a preliminary, mechanical alphabetic sorting, a first phase which can then be developed and refined to produce a taxonomy of respond melodies. This can be compared with the analyses of W.H. Frere, H-J. Holman, and others. The analysis identifies melodies linked by common melodic material, determines tonal strategies within each mode, and establishes the order in which the phrases are usually arranged, while also taking into account the length and syllabic structure of their texts. Finally, it is interesting to compare the deployment of formulaic elements in the St. Maur manuscript with that in other sources, to enhance our understanding of how the oral transmission of chant worked, how stable and how flexible it was in practice. ~Z7HHGF~ Jurij Snoj (Slovenian Academy of Sciences and Arts) Two Central-European Carthusian Graduals and the Question of Carthusian Melodic Tradition

Among several manuscripts from two nearby Carthusian settlements: Freudenthal/Bistra in Carniola and Seiz/Žièe in Styria, there are also two graduals (SI-Ln, Ms 22 and CZ–Pu, XIII–E–2), coming from the 13th and early 14th century respectively. The comparison of the manuscripts allows some interesting observations. The liturgical order of the two graduals is nearly the same; both have the same series of post-Pentecoste alleluias, and their sanctorale, which in both cases includes also some Aquileian names, is limited to the most basic saints. The manuscripts are written in square notation, yet in different types; besides, the gradual from Seiz includes also some portions in Gothic notation, indicating that it came into being in the aerea where the latter was normally used. The notational differences as well as melodic variant readings lead to the assumption that the two graduals, although definitely Carthusian, belong to two different melodic traditions. ~Z7HHGF~ Caitlin Snyder and Alison Altstatt (University of Oregon) En vos oriens et occidens: Notker's Clare sanctorum and the Western Salus eterna tradition

Our study of Notker's Clare sanctorum examines the textual organization of nearly 100 manuscript sources spanning the tenth through sixteenth centuries. Our comparison reveals that while Clare sanctorum remained an ever-present member of both Eastern and Western sequence repertories from ca. 1100 onward, there was no single, definitive rendering of the sequence in terms of its textual organization. Based on an analysis of versicle division and geographic distribution, we propose several typologies for classifying Clare sanctorum. A second portion of this study examines the melodic characteristics of Clare sanctorum and suggests that its idiosyncratic structure contributed to the differing conceptions of versicle division as found in manuscript sources. We will argue that as the sequence migrated westward, it assumed characteristics of its Western counterpart Salus eterna, another sequence from the OSTENDE/AUREA melody family. This study provides evidence for the interference of Western practice in the reception and performance of a first epoch East-Frankish sequence as it was absorbed into English and French repertoires. A final portion of our paper will analyze the earliest manuscript examples of Salus eterna to understand the relationship between its textual organization and the earliest conceptions of the OSTENDE NOBIS MAIOR melody. ~Z7HHGF~ Ruth Steiner (Washington) Lenten Antiphons in Evangelio

For the First Sunday of Lent, the Antiphoner of offers two series of supplementary antiphons. The first, headed in Evangelio, includes ten chants of which the texts are taken from Matthew 4: 1-11; they are given in the order in which they occur in the Bible. There are seven antiphons in the second series, which headed by the rubric de Apostolis. The texts of the first three come from 2 Corinthians 6: 2-7, with some rearrangement of phrases and centonization. Three of the others come from other biblical sources; one seems to have been freely composed. No particular consistency is evident in the melodies of either group, though of course the longer texts have more complex musical settings. In other sources, antiphons from the two groups are intermingled. Neither in their texts nor in the variety of liturgical roles assigned to them do these antiphons conform to what the term in Evangelio has been understood to mean. ~Z7HHGF~ Janka Szendrei (Institute for Musicology, Hungarian Academy of Sciences) Das Responsorium Verbum caro: Fragen und Überlegungen

It is commonly supposed that the chant of the Christmas Matins belong to the most stable part of the Romano-Frankish liturgy. It is surprising that its outstanding responsory Verbum caro factum est presents a very variable appearance (already from the Old Roman version onward) concerning liturgical placement, wording, selection of verse and musical settings. The paper maps these varieties and tries link them with their geographical and choronological context. ~Z7HHGF~ Christopher Tietze (St. Mary's Cathedral, San Francisco) The New Roman Missal and the Future of Gregorian Chant in the Catholic Mass

This paper deals with the developments regarding the proper chants and their place in the post- Vatican II period, with a special look at mis-interpretations of official documents in the United States of America. ~Z7HHGF~ Anna Vildera (Università degli Studi di Padova) Melodic Variants in the Chant for the Annunciation Office in Paduan Processionals

Only from 1472 onward do the inventories of the Paduan cathedral record the presence of quaterni, in which sunt omnia offitia et processiones que sunt in ecclesia Paduana per totum circulum anni (I-Pc, C 55 and C 56, 14th c.). The attempt to explain this fact - why did the cathedral inventories not enter the processionals, although they likely existed at least a century earlier? - compels one to consider the hypothesis that the two codices might have not been compiled in the fourteenth century, as other elements would suggest, but in the fifteenth century (after 1407). The Annunciation Office chants in manuscripts C 55 and C 56, sung in dramatic form, compared with other sources of liturgical dramas or of simple proprium officii for the Marian feasts, perhaps offer other data to support this research path, even if they certainly will not lead to a final solution, but to a series of further questions. ~Z7HHGF~ Alexander Vovk (Museum of Theatre and Music, St Petersburg) Syllabic lamentations for Denissov' brothers

Andrey and Symeon Denissov, the founders of a famous Old Rite (staroobryadtsy) parish on Vyg river, were most recognized figures among all the staroobryadtsy. They established in their community special sort of school where one could master liturgy, philosophy, rhetoric, poetry, music etc. They also founded in Vyg scriptorium where a unique book style had flourished. Since in Vyg they did not accepted Niconian priesthood and they could not ordain priests of their own, the Eucharistia had ceased and the Rite had been changed. As parallel to the liturgical changes new para- liturgical genres came to being. Syllabic lamentations for Denissov brothers make a good example of changes to take place in Vyg: although the staroobryadtsy was strictly conservative communion, they could not ignore new processes which were characteristic for that epoch. Thus, as a result we can see how sophisticated texts created in a new syllabic style were set to simple, almost folk tunes yet written down in old Znamenny neums. ~Z7HHGF~ Jerome F. Weber (Utica, NY) The "Laudes Regiae" on record The presentation will consist of several recordings of "Laudes Regiae" played in whole or in part from recent commercial CDs. To provide context for the audio presentation, a paper discussing the subject will be handed out to the audience and later revised for publication in the proceedings. ~Z7HHGF~ Travis Yeager (Indiana State University) The Old Office of St. Emmeram: A New Source Recovered

In about 1035, Arnold von St. Emmeram, a monk of St. Emmeram monastery in Regensburg, returned from a six-week stay in Hungary with a new and, in his view improved, liturgical Office in honor of the monastery’s principal patron saint, the martyr St. Emmeram. Arnold had his new office sung at the monastery, probably on 22 September, the feast of St. Emmeram, where it replaced the traditional Office. The old Office was sung, according to Arnold, “more out of ancient habit than from any presumption of authority.” Until now, the earliest source for a supplanted Office in honor of St. Emmeram is a ninth-century manuscript from St. Amand, but this does not reflect liturgical practice in Regensburg. As David Hiley notes, “We do not have sources from St. Emmeram’s itself to tell us how the Office was celebrated in the monastery up to the end of the 10th century. In fact, our only information about the special veneration of the saint before the end of the millennium is very slight” (Historia Sancti Emmerammi [Ottawa: Institute of Mediaeval Music, 1996], xix). An older Office, quite possibly the Office mentioned by Arnold von St. Emmeram, has now been identified and restored from a remnant in the so-called “Poole Martinellus” (Poole 27, Lilly Library, Indiana University), known to have been copied in the scriptorium of St. Emmeram monastery in the ninth century, where the codex remained at least until the beginning of the 16th century. Although scholars have studied the principal text of the Poole Martinellus, the notated liturgical Office of St. Emmeram, preserved on the verso of the last folio of the codex, has been virtually ignored. The Office was almost certainly copied onto this blank leaf in the tenth century, though it likely reflects an older liturgical tradition. This, then, was the Office supplanted by Arnold around 1035. It is therefore our only known witness to the early liturgical cult of St. Emmeram at Regensburg. Although faded and difficult to read, the Office fragment can be reconstructed: it consists of five antiphons, two responsories, and the beginning of a third responsory, fully notated throughout in German neumes. The fragment belongs to the first nocturn of the Night Office. The Office shows a number of textual parallels with the eighth-century biography of St. Emmeram and the ninth-century Office from St. Amand. It provides a rare opportunity to compare a very early medieval Office with a later rewriting: when Arnold von St. Emmeram composed the new Office in the eleventh century, he borrowed the texts—and in at least one case the melody—of several responsories from the old Office. The Office also suggests the influence of the cult of St. Dionysius at St. Emmeram well before the controversy over the alleged translation of his relics to Regensburg in the eleventh century. The paper will be illustrated with photographs of the original leaf, its reconstructed image, and transcriptions of the texts and melodies. ~Z7HHGF~