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00 UNIVERSITÉ D'OTTAWA ~ ÉCOLE DES GRADUÉS L'EPISTOLA DE ARMONICA INSTITVTIONE DE REGINON DE PRUM TEXTE ETABLI, TRADUIT ET COMMENTE par Yvon Chartier Thèse présentée à la Faculté des Arts de l'Université d'Ottawa en vue de l'obtention de la maîtrise es arts en langue et littérature latines. 1/ V 1 ^ * »// ^ , ,ij ç ^ Vf Ottawa, Canada \ J V 1965 Sy \/\ JJ UNIVERSITY OF OTTAWA" - lSHBOLtt>F CRADUATE STUDIES UMI Number EC56055 INFORMATION TO USERS The quahty of this reproduction is dépendent upon the quahty of the copy submitted Broken or indistinct pnnt, colored or poor quahty illustrations and photographs, pnnt bleed-through, substandard margins, and improper alignment can adversely affect reproduction In the unhkely event that the author did not send a complète manuscnpt and there are missing pages, thèse will be noted AIso, if unauthorized copyright matenal had to be removed, a note will indicate the deletion UMI UMI Microform EC56055 Copyright 2011 by ProQuest LLC Ail nghts reserved This microform édition is protected against unauthorized copying underTitle 17, United States Code ProQuest LLC 789 East Eisenhower Parkway PO Box 1346 AnnArbor, Ml 48106-1346 UNIVERSITÉ D'OTTAWA ~ ÉCOLE DES GRADUÉS RECONNAISSANCE Cette thèse a été préparée sous la direction du R. P. Etienne Gareau, o.m.i., docteur de l'Université de Paris, auquel l'auteur tient à marquer ici sa reconnaissance pour ses conseils judicieux et sa généreuse assistance. Nous tenons à manifester une gratitude particulière à l'endroit du Service de prêts entre bibliothèques de l'Université d'Ottawa, sans la collaboration duquel le pré­ sent travail eût été impossible. UNIVERSITY OF OTTAWA - SCHOOL OF GRADUATE STUDIES UNIVERSITÉ D'OTTAWA - ÉCOLE DES GRADUÉS CURRICVLVM STVDIORVM Yvon Chartier est né à Thetford-Mines, Province de Québec, Canada, le 10 août 1942. Il a étudié au Petit Sémi­ naire de Rimouski de 1954 à 1961, puis à la Faculté des Arts de l'Université d'Ottawa où il a obtenu son baccalauréat es arts avec spécialisation en français-latin en mai 1964. UNIVERSITY OF OTTAWA - SCHOOL OF GRADUATE STUDIES UNIVERSITÉ D'OTTAWA - ÉCOLE DES GRADUÉS TABLE DES MATIERES Pages I.- AVANT-PROPOS 1 II.- INTRODUCTION 6 1. Vie et oeuvres de Réginon 6 2. L'Epistola 17 îo Le Tonarius 17 2° Composition et sources 21 3. Histoire du texte 29 4. La tradition manuscrite 33 5. Principes de l'établissement du texte 55 6. Principes de la traduction 57 7. Plan du Commentaire 59 8. Conspectvs Siglorvm 59 III.- TEXTE 61 IV.- TRADUCTION 93 V.- COMMENTAIRE 117 VI.- BIBLIOGRAPHIE 210 UNIVERSITY OF OTTAWA - SCHOOL OF GRADUATE STUDIES UNIVERSITÉ D'OTTAWA ~ ÉCOLE DES GRADUÉS SIGLES ET ABREVIATIONS ALMA: Archivum Latinitatis Medii Aevi. Boèce: Boèce, De Institutione Musica. PL, t. 63. Archiv: Archiv der Gesellschaft fur altère deutsche Ges- chichte-Kunde. CS: de Coussemaker, Scriptorum de Musica, Nova séries. EL: Albert Lavignac et al; Encyclopédie de la Musique et Dictionnaire du Conservatoire, EM: Encyclopédie de la Musique. Ermisch: Hubert Ermisch, Die Chronik des Regino bis 813. GC: Willi Apel, Gregorian Chant. GH: Fr.-A. Gevaert, Histoire et théorie de la musique de l'antiquité. GS: Martin Gerbert, Scriptores ecclesiastici de musica sacra potissimum. GM: Fr.-A. Gevaert, La Mélopée dans le chant de l'Eglise latine» HDM: Willi Apel, Harvard Dictionary of Music, 15e éd. HLF: Histoire littéraire de la France, nouvelle édition. Jan: Karolus Jan, Musici Scriptores Graeci. Kurze: Fridericus Kurze, Reginonis abbatis prumiensis Chro- nikon. Manitius: Max Manitius, Geschichte der lateinischen Litera- turim Mittelalter. Mb: Marcus Meibomius, Antiquae Musicae auctores septem, grece et latine. Menge: Euclidis Phaenomena et scripta musica, edidit Henri- cus Menge. UNIVERSITY OF OTTAWA - SCHOOL OF GRADUATE STUDIES UNIVERSITÉ D'OTTAWA - ÉCOLE DES GRADUÉS SIGLES ET ABREVIATIONS vi MGG: Fr. Blume et al., Die Musik in Geschichte und Gegen- wart. MGH: Monumenta Germaniae Historica. MMA: G. Riesd, Music in the Middle Ages. NOHM: The New Oxford History of Music. PL: Migne, Patrologiae latinae cursus completus. PM: Paléographie Musicale. REA: Revue des Etudes Anciennes. REG: Revue des Etudes Grecques. RISM: Répertoire International des Sources Musicales. UNIVERSITY OF OTTAWA - SCHOOL OF GRADUATE STUDIES UNIVERSITÉ D'OTTAWA - ÉCOLE DES GRADUÉS I. AVANT-PROPOS Lorsqu'en 17Ô4 dom Martin Gerbert, prieur de l'ab­ baye de Saint-Biaise dans la Forêt Noire, publia ses Scrip­ tores Ecclesiastici de Musica sacra potissimum, il établit par le fait même les fondements de la musicologie médiévale. Pour la première fois en effet se trouvaient réunis, en trois in-quartos, selon un ordre chronologique, quelques quarante traités musicaux latins, collationés d'après les manuscrits de bibliothèques ou de monastères d'Europe cen­ trale, depuis le Ve siècle jusqu'au XlVe . Si, depuis bientôt deux siècles, le monument élevé par le savant bénédictin n'a fait que grandir, ses lacunes ou ses défauts, par contre, apparaissent aussi plus 1 Dans une belle page, Pierre Aubry (107i|-19l0) a défini la portée et la valeur de l'oeuvre de Gerbert qui, telle une carrière inépuisable, a alimenté jusqu'à ce jour tous les travaux sur l'histoire musicale du Moyen Age: "Ce qui dure le plus, ce sont les travaux où la per­ sonnalité de l'auteur se révèle le moins, ce sont les publi­ cations de textes, ce sont les fac-similés d'originaux, ce sont les instruments de travail que l'abnégation scientifi­ que de quelques-uns met entre les mains de la foule labori­ euse. Dom Gerbert (...) nous apparaît, dans son immutabili­ té, comme ces sphinx colossaux et ces pyramides de la Haute- Egypte auxquels les populations qui passaient à leurs pieds sont pu venir impunément, comme un carrière, prendre des pierres pour élever leurs demeures, sans que leur masse géante en paraisse diminuée." (P. Aubry, La musicologie mé­ diévale , Paris, 1900, p. 40.) UNIVERSITY OF OTTAWA ~ SCHOOL OF GRADUATE STUDIES UNIVERSITÉ D'OTTAWA - ÉCOLE DES GRADUÉS AVANT-PROPOS 2 clairement. Fétis, vers 1837, formulait à son égard les trois reproches suivants: 1 Gerbert n'a pas choisi les meilleurs manuscrits ou a utilisé des copies fautives; 2 il a inclus des auteurs ou des traités inutiles, et en a omis d'autres qui auraient mieux mérité d'être re­ tenus; 2 3 enfin, il a raisonné "plus en érudit qu'en musi­ cien ". P. Aubry ne retient que le premier de ces reproches et juge, non sans raison, les deux autres injustifiés. "Si Gerbert, écrit-il, n'a pas inséré ces traités, c'est vrai­ semblablement qu'il ne les connaissait pas, de même que nous avons aujourd'hui entre les mains des documents que Fétis ignorait ". Quant au troisième reproche, Aubry le juge ab­ surde: "si Fétis avait raisonné en érudit au lieu de rai­ sonner en musicien, son oeuvre serait sans doute moins ébranlée ". 2 F.-J. Fétis, Biographie universelle des musiciens, Paris, 2e éd. (1ère 1837-44) 1883-84, t. 3, art. Gerbert, p. 457-458, 1ère éd., t. 4, p. 308-309. Le troisième reproche s'adresse, il est vrai, à l'autre monumentale compilation de Gerbert, son De Cantua es musica sacra, 1774, 2 vol., plutôt qu'aux Scriptores. 3 P. Aubry, op. cit., p. 48. 4 Id., ibid., p. 54. UNIVERSITY OF OTTAWA -- SCHOOL OF GRADUATE STUDIES UNIVERSITÉ D'OTTAWA - ÉCOLE DES GRADUÉS AVANT-PROPOS 3 Le juriste français Charles-Edmond de Coussemaker (1805-1876) consacra les dernières années de sa vie à com­ pléter la collection de Gerbert et publia, de 1867 à 1876, quatre in-quartos contenant soixante-neuf nouveaux traités. Et de nos jours, une société musicologique fondée en 1945, 1'American Institute of Musicology dont le siège est à Rome, s'est donné comme tâche de publier séparément chacun de ces traités, d'après tous les manuscrits existants, en 5 les faisant précéder d'une introduction générale . C'est dans cette ligne de conduite que s'inscrit le présent travail qui a pour but l'établissement du texte, la traduction et le commentaire de l'Epistola de Armonica Institutione de Réginon de Prûm. Ce traité a déjà été publié par Gerbert , mais d'après deux manuscrits seulement, celui de Leipzig et sa copie de Bologne. Nous connaissons maintenant quatre autres manuscrits qui éclairent 5 Depuis 1950, treize vol. ont paru dans le Corpus Scriptorum de Musica. Ce sont, dans l'ordre, les traites de Jean d'Affligem, d'Aribon le Scolastique, de Jacob de Liège, de Guy d'Arezzo, de Marchette de Padoue, d'Ugolino d'Orvieto, de Philippe de Vitry et de John Hotby. 6 CS, t. 1, p. 230-247. 7 Ce sont les mss de Bruxelles, Montpellier, Metz et du Mont-Cassin. Cf. notre section sur la tradition ma­ nuscrite. UNIVERSITY OF OTTAWA - SCHOOL OF GRADUATE STUDIES UNIVERSITÉ D'OTTAWA ~ ÉCOLE DES GRADUÉS AVANT-PROPOS 4 g singulièrement la nature et la valeur de ce traité . De plus, nous avions certaines raisons de croire que Gerbert avait corrigé et retouché le texte de Réginon de façon sou­ vent arbitraire, et surtout sans toujours signaler ses cor­ rections. Cette opinion, après examen, s'est trouvée con­ firmée, ainsi qu'on le verra par l'apparat critique. Quant au Tonarius, dont l'Epistola n'est que l'in­ troduction ou la préface, de Coussemaker en a donné un fac- similé complet et définitif d'après le manuscrit de Bruxel- Q les. Un fac-similé aussi exact du Breviarium Nocturnale du manuscrit 169 de Leipzig serait éminemment souhaitable pour comparer la notation neumatique qui diffère dans ces deux manuscrits, mais cette entreprise nous est pour le moment techniquement impossible. Une traduction du traité de Réginon dans sa forme remaniée, d'après le manuscrit H 159 de Montpellier, a été faite par Théodore Nisard en 1865, mais cette très 8 Le Pr Heinrich Huschen de Bologne a formulé ré­ cemment le souhait d'une nouvelle édition du traité de Ré­ ginon en ces termes: "Eine textkritische Neuausgabe des Musiktraktats (und gegebenenfalls auch des Tonars) unter Zugrundelegung aller erhaltenen Handschriften wâre hochst wûnschenswert" (Regino von Prflm^ Historiker, Kirchen- rechtler und Musiktheoritiker.
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    FD2020 Full-Proceedngs-160920-V3

    Proceedings of the 36th Annual Meeting of the International Society for Psychophysics Fechner Day 2020 {Online} October 19-22, 2020 1 Published by the International Society for Psychophysics, 2020. Cover Image: Markus Spiske Cover design: Jordan Richard Schoenherr Title: Proceedings of the 36th Annual Meeting of the International Society for Psychophysics Fechner Day 2020 Edited by Jordan Richard Schoenherr, Timothy Hubbard, William Stine, and Craig Leth-Steensen for the International Society for Psychophysics. All papers are considered nonarchival, representing working papers of the authors. The International Society for Psychophysics does not hold any rights to the works contained herein which remain the intellectual property of the authors. Please contact the authors listed in the respective extended abstracts or papers for further details. Table of Contents Table of Contents ....................................................................................................... 3 Preface ......................................................................................................................... 4 Schedule ....................................................................................................................... 6 Abstracts and Papers ................................................................................................. 9 3 Preface Welcome to the 36th Annual Conference of the International Society for Psychophysics, Fechner Day 2020! As a member of the Executive Committee, I am pleased to welcome