Musicologie Médiévale

Resources for medieval musicology and liturgy

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Vieux-Romain

Ce groupe est un lieu d'échange sur le répertoire Vieux-Romain dont l'étude devient le passage obligé pour qui souhaite un réel "revertimini ad fontes Gregorii": variantes mélodiques, textuelles, ornementations, absonia, SI bémol-SI bécarre...

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Online BAV Lat 5319 : Graduel vieux-romain

Started by Dominique Gatté. Last reply by Oliver Gerlach Feb 1. 8 Replies

Citta del Vaticano, Biblioteca Apostolica VaticanaLat 5319 XII ▪ Graduel du Latran ▪ Index en cours de réalisation par D. GattéNous ne pouvons malheureusement pas cacher notre…Continue

Un nouveau témoin de l'office de la Nativité de St Jean Baptiste à Rome au XIIème siècle

Started by Dominique Gatté. Last reply by Richard Llewellyn Aug 9, 2016. 7 Replies

  Version courte d’un article à paraître… Un nouveau témoin de l'office de la Nativité de St Jean Baptiste  à Rome au XIIème siècleVerdun,  bibliothèque municipale, Ms 84  Dominique Gatté                 Le manuscrit 84 de la bibliothèque municipale…Continue

Office des défunts

Started by Ricossa. Last reply by Ricossa Jun 11, 2016. 2 Replies

Je signale ici la parution de mon édition de l'office des défunts selon le rit vieux-romain, avec musique complète en notation originale :…Continue

B.79 BAV Online : Antiphonaire vieux-romain

Started by Dominique Gatté. Last reply by jean-Paul Rigaud Nov 7, 2015. 8 Replies

Citta del Vaticano, Biblioteca Apostolica VaticanaArchivio di San Pietro B 79XII ▪ Antiphonair vieux-romain de Saint-Pierre de Rome ▪ …Continue

Online : Graduel vieux-romain BAV F22

Started by Dominique Gatté. Last reply by Alasdair Codona Jul 14, 2015. 1 Reply

Citta del Vaticano, Biblioteca Apostolica VaticanaArchivio di San Pietro F 22Graduel vieux-romain du XIIIème siècle…Continue

A new monograph about Old Roman

Started by Christoph Dohrmann. Last reply by Oliver Gerlach Mar 20, 2015. 30 Replies

A thorough more recent monograph about Old Roman chant seems to be missing.Some thoughts what should be included in such a monograph:ALL sources for Old Roman (including fragments) should be listed with exact descriptions of their datings and…Continue

L'antienne Astiterunt reges terrae

Started by Dominique Crochu. Last reply by Ricossa Jan 13, 2015. 4 Replies

A la lecture comparative du tableau ci-dessous:il apparait que la…Continue

Frammenti di Antifonario dal repertorio Romano Antico

Started by Dominique Gatté. Last reply by Dominique Gatté Dec 6, 2014. 3 Replies

Posté par Colandrea MicheleFrammenti di Antifonario dal repertorio Romano Antico. Pergamene dell'Archivio di Stato Frosinone. Segnatura ASFR 99 in foglio unico avanti retro. Nel…Continue

Old Roman Chant Database and Performance/Recording Project

Started by Christoph Dohrmann. Last reply by Oliver Gerlach Oct 6, 2014. 19 Replies

I would like to suggest that a database with ALL transcribed melodies of Old Roman chant should be put up in the WWW - with links to the scanned sources and comments (for instance about related melodies in other chant repertories etc.). Old Roman…Continue

Biblioteca Apostolica Vaticana, Archivio di San Pietro F 11, Orationale de Saint-Pierre de Rome

Started by Dominique Gatté. Last reply by Ricossa Jul 25, 2014. 6 Replies

Vaticano (Citta del),Biblioteca Apostolica Vaticana,Archivio di San Pietro F 11XII (début) ▪ Orationale de Saint-Pierre, contenant le Canon de la messe et…Continue

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Comment by Ricossa on December 5, 2014 at 17:26

vi sono anche varianti liturgiche e testuali (Sunt de hic stantibus... filium hominis / filium dei)

Comment by Colandrea Michele on December 5, 2014 at 17:12

Comment by Colandrea Michele on December 5, 2014 at 17:08

Frammenti di Antifonario dal repertorio Romano Antico. Pergamene dell'Archivio di Stato Frosinone. Segnatura ASFR 99 in foglio unico avanti retro. 
Nel foglio “recto” il repertorio liturgico-musicale è riferibile alla festa dell'Epifania, secondo notturno, antifone Reges tharsis (parziale)Omnes gentesVenite adoremus e il primo responsorio Tria sunt munera. Il foglio “versus” per effetto dell'impaginazione riporta il repertorio “ad laudes” della festa di San Giovanni evangelista con le antifone Iste est iohannesSunt de hic stantibusSic eumIste est iohannes cui christus e il primo responsorio Sub altare dei della festa degli InnocentiRispetto al B 79 dell'Archivio di San Pietro le recensioni melodiche di ASFR 99 trasmettono delle varianti. 
Comment by Neil Moran on October 10, 2013 at 15:04

Message from Svetlana Kujumdzieva
Dear Colleagues and Friends,
This is just to inform you that my last book has just been published by the Bulgarian Academy of Sciences. The title of the book is: "THE EARLY OKTOECHOI: SOURCES, LITURGY AND CHANT REPERTORY (BASED ON SOURCES UNTIL THE 13TH CENTURY)", 288 pages, ISBN 978-954-9787-21-4.
In the book are studied more than 90 primary sources from the 4th/5th to the 13th century in Greek, Syriac, Georgian and Armenian in order to find out when exactly the book of the Oktoechos was compiled and what kind of repertory like was included in the earliest sources.
The book could be ordered at the following e mail address: kmnc@kmnc.bg kmnc@bas.bg
All the best,
Svetlana Kujumdzieva

Comment by Neil Moran on September 29, 2013 at 19:05

New Article: Byzantinische Zeitschrift. Volume 106, Issue 1, pages 65–82.


Altrömische Offertoriums-Gesänge in medialen Tonarten. Zum Verhältnis des byzantinischen zum altrömischen und gregorianischen Choral

Neil K. Moran


 Abstract

 

The present study should be understood as a contribution to the disputed relationship of Byzantine to Old Roman and Gregorian chant. It is based on a study of offertory chants in the relatively little-known medial modes. The author discusses four Old Roman offertories in the second medial mode in the recently published book Inside the Offertory by Rebecca Maloy: In die sollemnitatis, Erit vobis, Confirma hoc and Oravi deum meum. Comparisons are made with chants based on Crucem tuam of the Old Roman repertory. In a previous article in Plainsong and Medieval Music the author demonstrated that the medial characteristics disappeared in the same texts in the Gregorian repertoire. In her comparisons of Old Roman and Gregorian sources Rebecca Maloy comes to a completely different conclusion. She argues that the so-called „Old Roman“ melodies are late medieval creations and she characterizes them with the negative term ‘formulaicism’. In this article her conclusions are called into question.

Comment by Ricossa on January 22, 2012 at 6:11

Le fait est que ni l'Occident ni l'Orient n'ont continué à se servir de la notation antique qui était sans doute connue (cf. Boèce) et ont eu recours plus tard à un autre type de notation inconnu dans l'antiquité.

Et la notation du chant liturgique n'a d'ailleurs été utilisée que par quelques églises

Comment by Neil Moran on January 21, 2012 at 20:07

With respect to medieval music notation, it is significant that the third century Papyrus Oxyrhynchus 1786 preserves a Christian hymn in honour of the Holy Trinity with musical notation.  In his thought-provoking brochure Evgenij Gertsman draws attention to the fact that Cassiodorus mentions a treatise by Gaudentius which “vir dissertissimus Matianus transtulit in Latinum” (ΠΡΟΠΑВШИЕ СТОЛЕТИЯ ВИЗАНТИЙСОЙ МУЫКИ, St. Petersburg, 2001, pp. 54-55).  Beginning with the 21st chapter of the Greek original (Γαυδεντιου φιλοσοφου Αρμονικη εισαγωγη) the author offers a description of ancient Greek notation.  Gertsman writes: “Anyone who gets acquainted with the works of Gaudentius, Bellermann’s Anonyms, or the work of Bacchius ... will easily see that Hellenic notation was included in the courses on theory in order for students to obtain an ability to understand the notation material” (ΠΡΟΠΑВШИЕ СТОЛЕТИЯ, pp. 70-71).  At the conclusion of his essay Gertsman asks if there were there actually five-hundred years without a single notated music manuscript or is this a result of our confusion? (pp. 86-88)

Comment by Ricossa on January 19, 2012 at 5:15

En effet, les conclusions de R. M. me dérangent un peu. Tout d'abord, on ne peut pas généraliser, car chaque pièce a son histoire, et si les livres VR possèdent certainement des chants importés du Romano-Franc, ce n'est certainement pas le cas de tout le répertoire, loin de là. D'autre part, elle base son argumentation essentiellement sur le fait que le chant VR est composé selon des méthodes typiques de la tradition orale (et j'ajouterais, d'une manière TRÈS raffinée), donc il s'est développé à partir d'un répertoire de type grégorien, à une période où Rome était en décadence. Je dois en conclure que le répertoire grégorien a des caractéristiques NON orales (donc redevables de l'écriture). Il faudrait donc donner raison à ceux qui postulent l'existence de la notation déjà au VIIIe siècle, mais encore plus, il faut supposer que le répertoire a été créé bien avant le VIIIe siècle à l'aide de la notation, ce qui est absurde.

Comment by Neil Moran on January 18, 2012 at 15:06

The terms ‘progressive homogenization’  and ‘perfunctory formulaicism’ are used by Rebecca Maloy to describe the weakly articulated melodies of the so-called Old Roman repertoire, which she believes is a late Medieval creation first written down in the late 11th century.  In a review of her work in Early Music History Joseph Dyer suggests that if is such is the case, then” the local Roman repertory might better be characterised as ‘late’ or ‘new’ Roman chant.”  Any comments?

Comment by Neil Moran on December 8, 2011 at 16:48

paragraph from MEDIEVAL MODE OFFERTORIES:

In contrast the O.R. versions of Confirma hoc for Pentecost and Oravi deum for Dominica XVI make liberal use of the colouration of the upper tetrachord.  In her discussion of the Gregorian settings of Oravi deum Maloy comments on the ‘nondiatonic pitches … employed in the pretheoretical tradition’!  The versions in Paris, lat. 1121 and Montpellier, H 159 clearly outline the two medial tetrachords, yet Maloy states that “Oravi begins as a deuteros melody and in the majority of sources, closes on E” but then adds “In the pretheoretical tradition, however, it most likely closed on D, with a deuteros E flat’ (sic).[i]  To order to accommodate her theory she rejects the readings in the manuscripts and proposes a ‘hypothetical performance level’ one tone lower.  However both verse 3 of Confirma hoc and verse 2 of Oravi deum include a similar descent from c to D, so why was the introduction of a ‘hypothetical performance level’ only necessary in the second piece?  In fact the same c – D – G flourish appears in lines 6 and as c – D – E in lines 7, 9 and 10 of the O.R. version of Confirma hoc.  Most of these difficulties together with the introduction of all the sharps and flats would disappear if she had given priority to the O.R. versions.  



[i] R. Maloy, Inside the offertory, pp.357-358.   Maloy discusses Oravi deum in her article’ Scolica enchiriadis and the 'non-diatonic' plainsong tradition, Early Music History,  28,  pp 61-96.

 

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