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University M icK xilm s International Johnstone, John Gearey THE OFFERTORY TROPE: ORIGINS, TRANSMISSION, AND FUNCTION The Ohio S tate University University Microfilms I nternatiO n0.1 300 N. Zeeb Road, Ann Arbor, Ml48106 THE OFFERTORY TROPE: ORIGINS, TRANSMISSION, AND FUNCTION DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By John Gearey Johnstone, B.A., M.A. The Ohio State University 1984 Reading Committee: Approved By Herbert S. Livingston Burdette L. Green Charles M. Atkinson Advi School of Music ^Copyright by John G. Johnstone 1984 To Zoê and Geof ACKNOWLEDGMENTS I would like first to thank Charles Atkinson for his guidance and support of this project from its embryonic stages to completion, and for his constant willingness to make his time mine. My deep gratitude must go to Ritva Jonsson, Gunilla Iversen, and Gunilla Bjorkvall of Corpus Troporum, who put up with me through the dark Scandinavian winter and who made our year in Stockholm a joyous one. To their scholarly assistance, deep understanding of medieval Latin, and reverence for tropes I owe much of my own excitment for tropes and most of my understanding of their texts. To the American-Scandinavian Foundation I am indebted for the financial support that made the year at Corpus troporum possible. I would like to thank Professor Jan Oberg, Margaretha Ruge, and the Insti­ tute of Classical Languages at the University of Stockholm for kindly placing the resources of the Institute at my disposal. Professors Herbert Livingston and Burdette Green have been of great help to me throughout my graduate studies. I thank them for their careful reading of the final draft of the dissertation; their sug­ gestions, particularly regarding style, have been most useful. I would like finally to acknowledge the wonderful support of my parents, my friends, and most of all my wife ZoS and stepson Geof for making the past five years not only possible but also a pleasure, ill 26 November 1950............. Born - Palo Alto, California 1972......................... B.A., Mathematics, Pomona College, Claremont, California 1972-1974 ................... Computer Programer, Fireman's Fund Insurance Company, San Francisco, California 197 9......................... M.A., Music History, San José State University, San José, California 198 0......................... University Fellow, The Ohio State University, Columbus, Ohio 1981. ................... Teaching Associate, School of Music, The Ohio State University, Columbus, 198 2......................... Thord Gray Fellow, The American- Scandinavian Foundation, University of Stockholm, Stockholm, Sweden 198 3......................... Presidential Fellow, The Ohio State University, Columbus, Ohio PUBLICATIONS "Beyond a Chant: Tui sunt caeli and its Tropes," in Studies in the History of Music, vol. 1, Music and Language (New York: Broude Brothers, 1983), pp. 24-37. Review of Bj«irn Aksdal, Med Piber og Basuner, Skalmeve og Fiol: Musikinstrumenter ^ Norge ca. 1600-1800 in Journal of the American Musical Instrument Society (1983): 124-125. "The Function of the Overture in Gluck's Reform Operas," Journal of the Graduate Students at The Ohio State University 8 (1981): 1-18. FIELDS OF STUDY Major Field: Music History Studies in Chant and Notation. Professor Charles M. Atkinson Studies in the History of Theory: Professor Burdette L. Green Studies in the Classical Period: Professors Herbert S. Livingston and Martha C. Maas TABLE OF CONTENTS Page ACKNOWLEDGEMENTS .......................................... iii VITA ..................................................... iv LIST OF T A B L E S ........................................... viii LIST OF FIGURES........................................... ix LIST OF MUSICALEX A M P L E S ................................... xi LIST OF MANUSCRIPT SI G L A ................................... xvi CHAPTER I. INTRODUCTION ........................................ 1 The Scope of R e s e a r c h ............................ 4 An Overview of the Offertory ..................... 10 II. MUSIC AND TEXT IN EAST-FRANKISH PROPER TROPES ....... 22 Relation between Melody and Textual Accent ......... 24 Melody and Textual Accent in Be 1 1 . 31 Melody and Textual Accent in Pa 1 1 2 1 . 42 Melody and Textual Accent in Pa 1235 . 48 East-Frankish Offertory Tropes ...................... 55 Musical and Textual Syntax ....................... 57 Musical Reinforcement of Poetic Structure ......... 61 Conclusion.......................................... 75 III. AB INCREPATIONE..................................... 79 Textual Traditions of Ab Increpatione ............... 83 Dating and Chronology .............................. 91 Music and T e x t ........... 100 IV. STRUCTURAL RELATIONS BETWEEN TROPE AND BASE CHANT.... 113 Structural Parallelism between Trope and Offertory . 115 Structural Imitation in other Trope Repertories.... 128 V. THE PARAPHRASE TRO P E.................. 144 The Earliest Source of Paraphrase Tropes ............. 146 Geographical Distribution of Paraphrase Tropes ....... 151 Paraphrase Tropes to Offertory Antiphons ............. 154 Liturgical Recitation .............................. 170 Paraphrase Tropes to Offertory Verses ............... 174 Paraphrase Verse Tropes in Pa 887 ................. 180 Paraphrase Verse Tropes at St. Gall and Bobbio . 182 Paraphrase Verse Tropes in Other Sources ......... 191 Melodic Adaptation .................................. 197 The Function of Paraphrase Tropes ................... 207 VI. CONCLUSION.......................217 BIBLIOGRAPHY . .... .. ...............................225 LIST OF TABLES 1. Frequency of Melodic Shapes for Paroxytones and Proparoxytones in Be 1 1 .............................. 37 2. Types of Neuraatic Inflection of Three-syllable Words in Be 1 1 .......................................... 39 3. Types of Neumatic Inflection of Three-syllable Words in Pa 1121... ....................................... 43 4. Types of Neumatic Inflection of Three-syllable Words in Pa 1235........................................... 48 5. Verses and Paraphrase Tropes for the Easter Offertory 176 6. Verses and Paraphrase Tropes for the Christmas Offertory............................................ 177 7. Manuscript Contents of Paraphrase Verse Tropes for the Easter Offertory .................................. 178 8. Manuscript Contents of Paraphrase Verse Tropes for the Christmas Offertory ............................ 178 LIST OF FIGURES Figure Page 1. The Offertory Desiderium animae elus with Three Verses, Derived from Psalm 20, Pa 9448............... 15 2. The Offertory Domine Deus in simplicité with Two Verses, Derived from 1 and 2 Chronicles, To 20........ 16 3. The Offertory Elegerunt apostoli with Two Verses, Derived from Acts 6 and 7, SG 339 ................... 18 4. The Offertory Anima nostra with Two Verses, Derived from Psalm 123, To 2 0 .............................. 19 5. Melodic Motion Represented by Sequences of Virgae and Puncta in Be 1 1 .................................... 36 6. Terra tremuit. Offertory Antiphon for Easter ........ 80 7. Ab increpatione. Be 11, f. 5 1 r ..................... 83 8. Gaudete et cantate, SG 484, p. 1 3 2 ................. 86 9. Ab increpatione, Vce 14o, f. 1 03v................... 87 10. Ab increpatione. Pa 9449, f. 3 8 r ................... 88 11. Ab increpatione, Pa 1121, f. 1 3 v ................... 89 — 12. The Offertory Posuisti and Selected T r o p e s .......... 122 13. Placement