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

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    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. 
  • 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

  • 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.

  • 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

  • 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)

  • 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.

  • 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?

  • 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.

    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 fonte…
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Introït Ne derelinquas me

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

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