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This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Barnard, Jennifer A Title: The journey of the soul: the role of music in the Ludus super Anticlaudianum of Adam de la Bassee General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. The Journey of the Soul The Role of Music in the Ludus super Anticlaudianum of Adam de la Bassee Vol. II Jennifer A. Barnard The Journey of the Soul The Role of Music in the Ludus superAnticlaudianum of Adam de la Bassee Vol. II Jennifer A. Barnard Contents Volume I List of Figures viii List of Tables ix List of Musical Examples X List ofAbbreviations Xii Note to the Reader xiv Introduction 1 I The Manuscript and its Author 2 II The Ludus and the Anticlaudianus 6 III `Ludus' in the Ludus 8 IV The Ludus and Lyric Insertion 12 V The Ludusand Related Scholarship 14 Chapter One - Authorial Contexts: St Pierre in the Thirteenth Century 18 I A Brief History of Lille and its Collegiale 18 II Collegiate Life and Worship at St Pierre 25 III Musical, Literary and Intellectual Culture in Lille 31 IV The Library at St Pierre 37 V St Pierre Today 48 Chapter Two - The Ludus in Context 53 I The Tradition of Lyric Insertion 53 II Practices of Insertion: Contrafacta, Conjointure and Compilatio 61 III Images of Insertion 67 IV Traditions of Reading and Writing 74 V The Ludus in Manuscript Context 80 VI Reading the Ludus 91 Chapter Three - The Musical Insertions: In the Courts of Heaven and Earth 93 I Overview of the Musical Items 93 (i) The Auctoritas: Adam's Contrafacta Models 95 (ii) Methods of Inscription: The Ludus' Notation 105 (iii) Techniques and Patterns of Insertion 114 II First Section: Prudencein the Court of Heaven 116 (i) The Litany of the Penitential Soul: Liturgical Contrafacta and Unica 118 (ii) Heralding the Messiah: Secular Contrafacta 129 (iii) The Inner Sanctum 136 III Liturgical Offices: The Court of Heaven 141 IV The Unica 142 (i) The Texts: Adam's Authorial Presence 143 (ii) Musical Characteristics of the Unica 146 V Second Section: The Creation of the Perfect Man - Nature's Earthly Court 151 (i) Secular Contrafacta: Music, Humility and Concord 152 (ii) The Education of the Perfect Man: The Unica 159 ii (iii) Liturgical Contrafacta: Patience,Piety and the Followers of Virtue 164 VI The Mass: The Court of Earth 169 VII Music in the Two Courts 171 in Chap ter Four - The Interpretation of Love: Sacred and Profane the Ludus 190 I Sacredand Profane Discourse in the Motet Repertory 190 II The Virgin Bride 195 III A Martyr for Love 204 IV The Heavenly Bridegroom 206 V Degreesof Love: A Common Code 209 VI Sponsa and Sponsus:The Spiritual Interpretation of Love 216 VII The Spirit of Love: Concord's Motet 220 Chap ter Five - The Ludus and its Sacred Insertions: A Model for Salvation 224 I Liturgy and Ritual in Vernacular Literature 225 II The Liturgy and Lyric Interpolation 227 III Liturgical Drama and the Drama of the Liturgy 229 IV Liturgical Cycles: Mapping Patternsof SacredTime 236 V A Model for Salvation: The Temporale 243 VI Saintly Exemplars: The Sanctorale 250 VII Journeys Towards God: Processionand Pilgrimage 253 VIII The Golden Age: A New Heaven 261 Volume II Chapter Six - The Ludus as a Handbook of Morality: Adam's Philosophy of Music 264 I The World View and Cosmologyof the Ludus 264 (i) Nature'sParadise 265 (ii) Prudence's Journey 266 II The Journey of the Soul 270 III The Seven Sisters: Music and the Liberal Arts 274 IV Musica Mundana, Musica Humana: The Role of Music in the Universe 280 V `Tuning' the Soul: The Social, Moral and Devotional Functions of Music 284 VI The Ludus as a Moral Handbook 293 Chapter Seven - Beyond the Ludus: Reception, Dissemination and Wider Influence 295 I Reception and Dissemination History of the Ludus 295 (i) The Anticlaudien 296 (ii) The Ludus-Anticlaudien 300 II Patterns of Transmission 304 III The Ludus and the Tradition of Lyric Interpolation 315 IV The Ludus and Fauvel 318 V Conclusion: The `Contemplation of Truth' - Interpreting the Ludus 321 Appendix - Transcriptions of Ludus' Musical Insertions 340 Bibliography 475 iii Chapter Six The Ludus as a Handbook of Morality: Adam's Philosophy of Music In his recasting of the Anticlaudianus, Adam ensuresthat his work is simpler and less speculative, reducing or even removing several of Alan's extended philosophical passages.Yet, with its account of Prudence's allegorical journey throughout the cosmos, and its emphasis upon the importance of the Liberal Arts, the relationship between body and soul, and the binding and controlling function of music, the Ludus nevertheless explores a number of philosophical and cosmological issues within its narrative. Throughout the Ludus, the reader is introduced to a thirteenth-century view of the world, a world in which music plays a fundamental part in unifying the components of the universe and in bringing Man into harmony with himself and with the environment in which he lives. This highlighting of the significance of music, which resonates throughout the Ludus, is essential to our understanding of the way in which Adam intended his work to function. When viewed against the backdrop of antique and medieval philosophical theories of music, it is evident that Adam's Ludus utilises music's role as an agent for moral and spiritual improvement, and was designed to serve as a handbook of morality. Its narrative leads its readers on a journey of self-knowledge and self-discovery within which music is employed in a variety of ways to harmonise, discipline and instruct. Through an examination of several theorists' views of the purpose and the effect of music within the universe and mankind, this chapter aims to demonstrate that the music which Adam includes in his narrative is employed in order to awaken the soul, bring it into balance and direct it on its pilgrimage. I: The World View and Cosmology of the Ludus With its various descriptions of the world in which the poem is set, Adam's narrative provides an interesting insight into a thirteenth-century vision of the universe, of God and of music. Based upon the Anticlaudianus, the Ludus generally shares Alan's Platonic world-view. However, a comparison of their accounts of the universe reveals that Adam utilises these descriptive passages in order to signal specific topics which are pertinent to the thematics of his narrative and to stressthe importance of music to his work. Whilst following Alan's narrative closely, it is apparent that Adam stamps it firmly with his own creative agenda as a means of indicating the purpose and function of the Ludus. Adam's portrayal of the natural world occupies two sections of his narrative: the ' description of Nature's paradise with which the work begins, and the account of 2 Prudence'sjourney which forms the bulk of the first section of the work. (i) Nature's Paradise: Both the Anticlaudianus and the Ludus begin, after a prologue, with a depiction of Nature's earthly paradise. In both works, this initial passagesets the tone for much that is to follow and introduces a number of key themes which are then extrapolated throughout the narrative. In Book I of the Anticlaudianus, Alan portrays the beauty and bounty of Nature's home, complete with birds and a stream of never-failing water, stating that she 3 has tried to fashion here a second heaven. Adam's description is very similar. Rather like the Golden Age represented at the close of the Ludus, Nature's abode is depicted as an Elysian dwelling, filled with blossoming flowers and trees which are always green and 4 laden with fruit. It is a place of abundance, peace and never-ending life. More so than 6 Alan, Adam highlights the singing birds, 5 the tinkling silver streams, and the Sirens who sing and play their citharae,7 thus emphasising the inherent musicality of the location. Following this description, Adam introduces his readers to the character of Nature, beginning with a portrayal of her appearance.8 She is a beautiful maiden, fair and lovely, 9 and her artistry is displayed upon her magnificent raiment. Her coat is embroidered all over with birds (with the exception of the impure heron),1° her tunic is covered with images of " 12 13 animals, her shoeswith fish and her belt is sewn with flowers.
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