Variety within Unity: Sanctus sanctorum exultatio Master’s Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Peter Moeller Graduate Program in Music The Ohio State University Thesis Committee Dr. Danielle Fosler-Lussier, Advisor Dr. Charles Atkinson Dr. Leslie Lockett ii Copyright by Peter Moeller 2018 iii Abstract When the Frankish King Pepin III declared, in the wake of the visit by Pope Stephen II and his retinue (752-57), that henceforth the churches in Francia would follow the Roman rite in the celebration of the liturgy, he began a process that would have far-reaching consequences for both the liturgy and its music. The chants of the Roman rite quickly came to be represented as divinely inspired—their melodies having been sung directly into the ear of Gregory the Great by the Holy Spirit in the form of a dove—and their textual and melodic ductus unalterable. Frankish singers, however, responded creatively to the imposition of the Roman liturgy and its music. While they could not alter the texts and melodies of the standard items of the mass and office, they could add newly composed texts and melodies to them. The result was the phenomenon often referred to as "troping," a term that covers a diverse array of practices ranging from adding melismas to the phrases of an Introit, adding texts to preexistent melismas, or composing completely new texts with music that could introduce and embellish almost any chant of the Mass or Office—the last-named being the "classic trope," as Bruno Stäblein called it. Tropes have presented a fertile area of research for modern scholars, since they belong to the earliest layer of new musical composition in the medieval West. Inasmuch as tropes were newly composed, they can exhibit a considerable amount of variation in the ways they are copied and transmitted in manuscript sources. Sanctorum exultatio presents a particularly fruitful case study in the transmission of chant because it was transmitted over great distance and time with remarkable consistency, while also exhibiting, in a minority of sources, a high degree of ii variation. Examining such a stable example of chant transmission serves to clarify possible sources of variation, as the rarity of alteration causes it to stand out plainly. iii Acknowledgments I would like to thank my thesis advisor, Dr. Danielle Fosler-Lussier of the School of Music at The Ohio State University, for her continuous support throughout my graduate program; her encouragement and guidance have made me a better writer, scholar, and human. I would also like to thank my committee members, Dr. Charles Atkinson and Dr. Leslie Lockett, both of whom have helped foster my love of medieval music, and who have honed my abilities as a medievalist and scholar. I would like to acknowledge Dr. Andreas Haug, Dr. Elena Ungeheuer, and the Institut für Musikforschung at Universität Würzburg. Their warm welcome and generosity played a large part in making this document possible, and I am extremely grateful. I am extremely grateful to the School of Music and the Graduate School at The Ohio State University, whose generosity have allowed me to travel, broaden my research and write a thesis that considers as many sources as possible. Finally, I must express my deepest gratitude to my family and friends. Without their love, support, and constant questions of, “When will you be done with your degree?” throughout the years, this thesis would certainly not have been possible. Peter Moeller iv Vita Biographical Information Bachelor of Music, Illinois Wesleyan University……………………………………………..2013 Fields of Study Major Field: Music v Table of Contents Abstract ..................................................................................................................................ii Acknowledgements ................................................................................................................iv Vita .........................................................................................................................................v List of Tables .........................................................................................................................vii List of Figures ........................................................................................................................viii 1. Introduction ........................................................................................................................1 2. History and Typology of Sanctus Tropes ..........................................................................5 The Sanctus Chant .....................................................................................................5 Tropes to the Sanctus .................................................................................................6 3. Sources ...............................................................................................................................8 4. Sanctorum exultatio in Comparison...................................................................................15 Textual Variation .......................................................................................................15 Melodic Variation ......................................................................................................16 Scribal Errors in the Transmission of Sanctus Sanctorum exultatio..........................20 Polyphonic Setting in W1 ..........................................................................................23 4. Conclusions ........................................................................................................................24 Bibliography ..........................................................................................................................26 Appendix A: Sigla Table .......................................................................................................29 Appendix B: Comparison of Iterations by Notes per Syllable ..............................................31 Appendix C: Synoptic Transcription of Sources ...................................................................32 vi List of Tables Table 3.1: The standard text for trope Sanctus Sanctorum exultatio .....................................15 vii List of Figures Figure 3.1. Text underlay in SG 546......................................................................................18 Figure 3.2. Partial transposition in top line of Lo 2 B IV, fol. 186v ......................................20 Figure 3.3. Scribal Error in SG 383 .......................................................................................21 viii Variety within Unity: The Sanctus Trope Sanctorum exultatio 1. Introduction When the Frankish King Pepin III declared, in the wake of the visit by Pope Stephen II and his retinue (752-57), that henceforth the churches in Francia would follow the Roman rite in the celebration of the liturgy, he began a process that would have far-reaching consequences for both the liturgy and its music.1 The chants of the Roman rite quickly came to be represented as divinely inspired—their melodies having been sung directly into the ear of Gregory the Great by the Holy Spirit in the form of a dove—and their textual and melodic ductus unalterable.2 Frankish singers, however, responded creatively to the imposition of the Roman liturgy and its music. While they could not alter the texts and melodies of the standard items of the mass and office, they could add newly composed texts and melodies to them.3 The result was the 1 Cyrille Vogel, “Les Échanges liturgiques entre Rome et les pays francs jusqu’à l’époque de Charlemagne,” Le Chiese nei regni dell’Europa occidentale e i loro rapporti con Roma fino all’ 800, Settimane di studio del Centro italiano di studi sull’alto medioevo 7 (1960): I: 185-295. 2 Leo Treitler, "Homer and Gregory: The Transmission of Epic Poetry and Plainchant,” Musical Quarterly 60, no. 3 (1974): 333-372. 3 That troping was occurring already in the ninth century, and that the process was not necessarily looked upon favorably, is documented by the canon of the Council of Meaux in 845/6. That document forbade clergy to “add, interpolate, recite, murmur, or sing out” new texts when performing services. “The relevant passage reads as follows: Propter inprobitatem quorundam omnino dampnabilem, qui novitatibus delectati puritatem antiquitatis suis adinventionibus interpolare non metuunt, statuimus, ut nullus clericorum nullusque monachorum in Ymno Angelico, id est ‚”Gloria in excelsis deo,” et in sequentiis, que in Alleluia sollempniter decantari solent, quaslibet compositiones, quas prosas vocant, vel ullas fictiones addere, interponere, recitare, submurmurare aut decantare presummat. Quod si fecerit, deponatur.“ See Gabriel Silagi, “Vorwort,“ Liturgische Tropen: Referate zweier Colloquien des Corpus Troporum in München (1983) und Canterbury (1984), (Munich: Münchener Beiträge zur Mediävistik und Renaissance-Forschung 56 Arbeo-Gesellschaft, 1985), vii-x. 1 phenomenon often referred to as "troping," a term that covers a diverse array of practices ranging from adding melismas to the phrases of an Introit, adding texts to preexistent melismas, or composing completely new texts with music that could introduce and embellish almost any chant of the Mass or Office—the last-named being the "classic trope," as Bruno Stäblein called it.4 Tropes have presented