Oktoechos - Musicologie Médiévale2024-03-28T23:28:41Zhttps://gregorian-chant.ning.com/group/vieuxromain/forum/topics/feed/tag/OktoechosΕις μνήμην Λυκούργος Αγγελόπουλου: Magister Scholae cantorumhttps://gregorian-chant.ning.com/group/vieuxromain/forum/topics/magister-scholae-cantorum2014-05-26T08:38:30.000Z2014-05-26T08:38:30.000ZOliver Gerlachhttps://gregorian-chant.ning.com/members/1fkkdlhqnd9oq<div><p style="text-align:center;"><iframe title="YouTube video player" src="https://www.youtube.com/embed/KDJtBh3LGJg" width="988" height="556" frameborder="0" allowfullscreen=""></iframe></p><p>What is always very strange with this Old Roman composition of the Improperia, that they chose a tune which is not typical for Good Friday, but rather the echos of the resurrection day, the sticheraric melos of plagios protos with the finalis on δ' which can be traced back to the 11th century:</p><p>Troelsgård, Christian: "The Exaposteilaria anastasima with Round Notation in MS Athos, Iberon 953," in: Alberto Doda (ed.): <em>Studi di musica bizantina – in onore di Giovanni Marzi</em>, Lucca: Libreria musicale italiana 1995; pp. 15-28.</p><p>Alleluia – O Kyrios evasileusen, of the Vespers of the Easter and of the Holy Mess on Monday (Ms. vat. lat. 5319 of the Vatican Library, here transcribed by Malcolm Bothwell):</p><p><iframe src="//www.youtube.com/embed/5kPX-FGR_6k?wmode=opaque" width="1280" height="720" frameborder="0"></iframe></p><p>Tractus «Qui habitat» (Part I)<iframe title="YouTube video player" src="https://www.youtube.com/embed/2JOShBSsql0" width="988" height="556" frameborder="0" allowfullscreen=""></iframe></p><p>Part II<br /><iframe title="YouTube video player" src="https://www.youtube.com/embed/X5xoJfXT1LU" width="988" height="556" frameborder="0" allowfullscreen=""></iframe></p></div>The Old-Roman Practice of Alleluia singinghttps://gregorian-chant.ning.com/group/vieuxromain/forum/topics/the-old-roman-practice-of-alleluia-singing2012-07-05T07:01:27.000Z2012-07-05T07:01:27.000ZOliver Gerlachhttps://gregorian-chant.ning.com/members/1fkkdlhqnd9oq<div><p>According to Gregory the Great (<a title="edition of MGH" href="http://www.dmgh.de/de/fs1/object/display/bsb00000536_00103.html?sortIndex=040%253A010%253A0002%253A010%253A00%253A00&sort=score&order=desc&pageNo=59&context=johannis+syracus+gregori&subSeriesTitle_str=%7BEpistolae+%5BBriefe%5D%7D&hl=false&fulltext=johannis+syracus+gregori&zoom=0.75" target="_blank">letter to Bishop John of Syracuse, Oct. 598</a>) the Roman habit to sing the <em>alleluia</em> was imported from Jerusalem during the time of Jerome and Pope Damasus. Already in 445 Pseudo-Sozomenos wrote about a touristic attraction which used to happen only once a year:</p><blockquote><p>Πάλιν αὖ ἑκάστου ἔτους ἄπαξ ἐν Ῥώμῃ τὸ Ἀλληλούϊα ψάλλουσι, κατὰ τὴν πρώτην ἡμέραν τῆς Πασχαλίου ἑορτῆς, ὡς πολλοῖς Ῥωμαίων ὅρκον εἶναι, τοῦτον τὸν ὕμνον ἀξιωθῆναι ἀκοῦσαί τε καὶ ψᾶλαι.</p><p>Again in Rome they use to sing once a year the alleluia on the first day of Easter, so that a lot of Romans swear by it [were an oath] being worthy to listen to this hymn and to sing it.</p></blockquote><p>Hermias Sozomenos Salaminios: Κεφ. 19 · Κατάλογος τοῦ συγγραφέως εἰδήσεως ἄξιος τῶν παρὰ διαφόροις ἕθνεσι Ἐκκλησίαις ἐθῶν [Catalogue of the author's worthy reports about various pagan and church rites]. Vol. 7 of Ἐκκλησιαστικῆς Ἰστορίας, in: Jacques-Paul Migne, ed. 1857-66. <em>PG</em>, Paris. vol. 67, col. 1476.</p><p> </p><p><span style="font-family:'arial black', 'avant garde';"><strong>Bibliography</strong></span></p><p><strong>Alleluia</strong></p><div class="csl-bib-body" style="line-height:1.35;padding-left:2em;text-indent:-2em;"><div class="csl-entry">Bailey, Terence. 1983. <em>The Ambrosian Alleluia</em>. London: Unwin Brothers Ltd.</div><div class="csl-entry">Crocker, Richard L., John Caldwell, and Alejandro Enrique Planchart. “<a href="http://www.oxfordmusiconline.com/subscriber/article/grove/music/25436" target="_blank">Sequence (i)</a>.” <em>Grove Music Online</em>.<div class="csl-entry">Jeffery, Peter. 1984. “<a href="http://www.digizeitschriften.de/dms/img/?PPN=PPN508363802_0026&DMDID=dmdlog20" target="_blank">The Introduction of Psalmody into the Roman Mass by Pope Celestine I (422-432). Reinterpreting a Passage in the ‘Liber Pontificalis’</a>.” <em>Archiv Für Liturgiewissenschaft</em> 26: 147–65.</div><div class="csl-entry">Levy, Kenneth. 1970. "<a href="http://www.jstor.org/stable/830642" target="_blank">The Italian Neophytes’ Chants</a>." <em>JAMS</em> 23: 181–227.</div><div class="csl-entry"> </div></div><div class="csl-entry">McKinnon, James W. 1996. “<a href="http://www.jstor.org/stable/853912" target="_blank">Preface to the Study of the Alleluia</a>.” <em>Early Music History</em> 15: 213–249.</div><div class="csl-entry">McKinnon, James W., and Christian Thodberg. "<a href="http://www.oxfordmusiconline.com/subscriber/article/grove/music/40711" target="_blank">Alleluia</a>." <em>Grove Music Online</em>.</div><div class="csl-entry">Pfisterer, Andreas. 2008. “<a href="http://dx.doi.org/10.1017/S0961137108000776" target="_blank">Italian and Gallican Alleluia Psalmody</a>.” <em>Plainsong and Medieval Music</em> 17: 55-68.</div><div class="csl-entry">Thodberg, Christian. 1966. <em>Der byzantinische Alleluiarionzyklus: Studien im kurzen Psaltikonstil</em>. transl. Holger Hamann. in: Monumenta Musicae Byzantinae - Subsidia 8. Kopenhagen: E. Munksgaard.</div><div class="csl-entry">Turco, Alberto. 1992. <em>Il canto antico di Milano: La salmodia alleluiatica e antifonata nelle fonti manoscritte</em>. Vol. 1. Quaderni Di “Studi Gregoriani”. Roma: Torre d’Orfeo.</div><div class="csl-entry">Wellesz, Egon. 1954. “Gregory the Great’s Letter on the Alleluia.” <em>Annales Musicologiques</em> 2: 7–26.</div><div class="csl-entry"><strong> </strong></div><div class="csl-entry"><strong>Western Plainchant</strong></div></div><div class="csl-bib-body" style="line-height:1.35;padding-left:2em;text-indent:-2em;"><div class="csl-entry">Bailey, Terence. "<a href="http://www.oxfordmusiconline.com/subscriber/article/grove/music/00754" target="_blank">Ambrosian chant</a>." <em>Grove Music Online</em>.</div><div class="csl-entry">———. 2008. “<a href="http://dx.doi.org/10.1017/S0961137108000752" target="_blank">A Lost Ambrosian Antiphoner of Southern Italy</a>.” <em>Plainsong and Medieval Music</em> 17: 1-22.</div><div class="csl-entry">Bailey, Terence, and Paul Merkley. 1989. <em>The Antiphons of the Ambrosian Office</em>. Vol. 50. Musicological Studies. Ottawa: Institute of Mediaeval Music.</div><div class="csl-entry">Bernard, Philippe. 1996. <em>Du chant romain au chant grégorien (IVe-XIIIe siècle)</em>. Patrimoines. Christianisme. Paris: Éditions du Cerf.</div><div class="csl-entry">Colette, Marie-Noël. 1995. “Grégorien et vieux-romain: deux différentes méthodes de collectage de mélodies traditionelles?” In <em>Laborare Fratres in Unum: Festschrift Laszló Dóbszay zum 60. Geburtstag</em>, ed. Janka Szendrei and David Hiley, 37–52. Spolia Berolinensia 7. Hildesheim: Weidmann.</div><div class="csl-entry">Dyer, Joseph Henry. 1981. <em>The Offertories of Old-Roman Chant : a Musico-liturgical Investigation</em>. Ann Arbor, Mich.: University Microfilms International. see also <a href="http://gregorian-chant.ning.com/group/vieuxromain/forum/topics/discussing-neil-moran-and-rebecca-maloy" target="_blank">Rebecca Maloy</a>.</div><div class="csl-entry">Haas, Max. 1997. <em>Mündliche Überlieferung und altrömischer Choral: Historische und analytische computergestützte Untersuchungen</em>. Bern: Lang.</div><div class="csl-entry">Hucke, Helmut, und Joseph Dyer. "<a href="http://www.oxfordmusiconline.com/subscriber/article/grove/music/11725" target="_blank">Old Roman chant</a>". <em>Grove Music Online</em>.</div><div class="csl-entry">Huglo, Michel. 2010. “Psalmody in the Ambrosian Rite - Observations on Liturgy and Music.” In <em>Ambrosiana at Harvard : New Sources of Milanese Chant</em>, ed. Thomas Forrest Kelly. Cambridge, Mass.: Houghton Library, 97–124.</div><div class="csl-entry">Levy, Kenneth. 1987. “<a href="http://www.jstor.org/stable/831580" target="_blank">Charlemagne’s Archetype of Gregorian Chant</a>.” <em>JAMS</em> 40: 1–30.</div><div class="csl-entry">———. 2000. “<a href="http://www.jstor.org/stable/853859" target="_blank">A New Look at Old Roman Chant</a>.” <em>Early Music History</em> 19: 81–104.</div><div class="csl-entry">———. 2001. “<a href="http://www.jstor.org/stable/853791" target="_blank">A New Look at Old Roman Chant - II</a>.” <em>Early Music History</em> 20: 173–197.</div><div class="csl-entry">———. 2003. “<a href="http://www.jstor.org/stable/10.1525/jams.2003.56.1.5" target="_blank">Gregorian Chant and the Romans</a>.” <em>JAMS</em> 56: 5–41.</div><div class="csl-entry">———. 2009. “<a href="http://books.google.com/books?id=1gAyfFpzZnUC" target="_blank">On the Origin of Neumes</a>.” In <em>Early Music History - Studies in Medieval and Early Modern Music</em>, by Iain Fenlon. Cambridge, New York, New Rochelle, Melbourne, Sydney: Cambridge University Press, 7:59–90.</div><div class="csl-entry">Levy, Kenneth, John A. Emerson, Jane Bellingham, David Hiley, und Bennett Mitchell Zon. "<a href="http://www.oxfordmusiconline.com/subscriber/article/grove/music/40099#S40099" target="_blank">Plainchant</a>." <em>Grove Music Online</em>.</div><div class="csl-entry">McKinnon, James. 2000. <em><a href="http://books.google.de/books?id=QHfxtBEGMPwC" target="_blank">The Advent Project the Later-seventh-century Creation of the Roman Mass Proper</a></em>. Berkeley: University of California Press.</div><div class="csl-entry">———. 1987. “<a href="http://www.jstor.org/stable/853889" target="_blank">The Fourth-Century Origin of the Gradual</a>.” <em>Early Music History</em> 7: 91–106.</div><div class="csl-entry">———. 1998. “<a href="http://www.jstor.org/stable/902538" target="_blank">Compositional Planning in the Roman Mass Proper</a>.” <em>Studia Musicologica Academiae Scientiarum Hungaricae</em> 39: 241–245.</div><div class="csl-entry">———. "<a href="http://www.oxfordmusiconline.com/subscriber/article/grove/music/11726" target="_blank">Gregorian chant</a>." <em>Grove Music Online</em>.</div><div class="csl-entry">Pfisterer, Andreas. 2002. <em>Cantilena Romana: Untersuchungen zur Überlieferung des Gregorianischen Chorals</em>. Beiträge Zur Geschichte der Kirchenmusik ; 11. Paderborn: Schöningh.</div><div class="csl-entry">Werf, Hendrik van der. 1983. <em>The Emergence of Gregorian Chant: A Comparative Study of Ambrosian, Roman and Gregorian Chant</em>. Rochester, N.Y.: H. van der Werf.</div></div><p><strong> </strong></p><p><strong>Oriental & Slavic Rites</strong></p><div class="csl-bib-body" style="line-height:1.35;padding-left:2em;text-indent:-2em;"><div class="csl-entry">Frøyshov, Stig Simeon R. 2007. “<a href="http://www.mzh.mrezha.ru/lib/froyshov/fhv2007a.pdf" target="_blank">The Early Development of the Liturgical Eight-Mode System in Jerusalem</a>.” <em>Saint Vladimir’s Theological Quarterly</em> 51: 139–178.</div><div class="csl-entry">Poliakova, Svetlana. 2009. “<a href="http://run.unl.pt/bitstream/10362/4934/1/SvetlanaPoliakova.pdf" target="_blank">Sin 319 and Voskr 27 and the Triodion Cycle in the Liturgical Praxis in Russia During the Studite Period</a>”. PhD, Lissabon: Universidade Nova de Lisboa.</div></div></div>Discussing Neil Moran and Rebecca Maloyhttps://gregorian-chant.ning.com/group/vieuxromain/forum/topics/discussing-neil-moran-and-rebecca-maloy2012-01-19T10:27:59.000Z2012-01-19T10:27:59.000ZOliver Gerlachhttps://gregorian-chant.ning.com/members/1fkkdlhqnd9oq<div><p>Neil Moran wrote:</p><blockquote><p>I have completed a study on MEDIAL MODE OFFERTORIES and have submitted it for publication.</p></blockquote><p>and continued with a quotation and a request for discussion:</p><dl id="c_026" class="comment vcard xg_lightborder"><dd><div class="xg_user_generated"><p>paragraph from MEDIEVAL MODE OFFERTORIES:</p></div><div class="xg_user_generated"><blockquote><p>In contrast the O.R. versions of <em>Confirma hoc</em> for Pentecost and <em>Oravi deum</em> for Dominica XVI make liberal use of the colouration of the upper tetrachord. In her discussion of the Gregorian settings of <em>Oravi deum</em> 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 “<em>Oravi</em> begins as a <em>deuteros</em> 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 <em>deuteros</em> E flat’ (sic).<a title="" href="../../../vieuxromain#_edn1">[i]</a> 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 <em>Confirma hoc</em> and verse 2 of <em>Oravi deum</em> 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 <em>Confirma hoc</em>. 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.</p></blockquote></div><blockquote><div class="xg_user_generated"><div><hr align="left" size="1" width="33%" /></div></div></blockquote><div class="xg_user_generated"><div><div><blockquote><p><a title="" href="../../../vieuxromain#_ednref1">[i]</a> R. Maloy, <em>Inside the offertory</em>, pp.357-358. Maloy discusses <em>Oravi deum</em> in her article’ Scolica enchiriadis and the 'non-diatonic' plainsong tradition, <em>Early Music History,</em> 28, pp 61-96.</p></blockquote><p>The terms ‘<em>progressive homogenization’</em> and ‘<em>perfunctory formulaicism’</em> 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 11<sup>th</sup> century. In a review of her work in <em>Early Music History</em> Joseph Dyer suggests that if is such is the case, then” <em>the local Roman repertory might better be characterised as ‘late’ or ‘new’ Roman chant.</em>” Any comments?</p></div></div></div></dd></dl><p><span style="font-family:'arial black', 'avant garde';">1) Offertory "Confirma hoc"</span></p><p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1271808402?profile=original" target="_blank"><img class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1271808402?profile=RESIZE_1024x1024" alt="1271808402?profile=RESIZE_1024x1024" width="750" /></a></p><p style="text-align:center;">Montpellier, Bibliothèque Inter-Universitaire, Section Médecine, Ms. H159, fol. 117v-118r</p><p style="text-align:center;">(Guillaume de Volpiano)</p><p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1271808569?profile=original" target="_blank"><img class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1271808569?profile=RESIZE_1024x1024" alt="1271808569?profile=RESIZE_1024x1024" width="750" /></a></p><p style="text-align:center;">F-Pbn lat. 1121, fol. 128v-129r (Adémar de Chabannes)</p><p><span style="font-family:'arial black', 'avant garde';">2) Offertory "Oravi deum"</span></p><p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1271809618?profile=original" target="_blank"><img class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1271809618?profile=RESIZE_1024x1024" alt="1271809618?profile=RESIZE_1024x1024" width="750" /></a></p><p style="text-align:center;">Montpellier, Bibliothèque Inter-Universitaire, Section Médecine, Ms. H159, fol. 115v-116r</p><p style="text-align:center;">(Guillaume de Volpiano)</p><p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1271809800?profile=original" target="_blank"><img class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1271809800?profile=RESIZE_1024x1024" alt="1271809800?profile=RESIZE_1024x1024" width="750" /></a></p><p style="text-align:center;">F-Pbn lat. 1121, fol. 134r-134v (Adémar de Chabannes)</p><p style="text-align:center;"><a href="http://storage.ning.com/topology/rest/1.0/file/get/1271811101?profile=original"><img class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1271811101?profile=RESIZE_1024x1024" alt="1271811101?profile=RESIZE_1024x1024" width="750" /></a>F-Pbn lat. 909, fol. 242v-243r (Adémar de Chabannes)</p><p style="text-align:left;"><span style="font-family:'arial black', 'avant garde';">Bibliography:</span></p><div class="csl-bib-body" style="line-height:1.35;padding-left:2em;text-indent:-2em;"><div class="csl-entry">Maloy, R., 2009. Offertory Melodies in Rome, Francia, and Milan. In B. Haggh & L. Dobszay, ed. <em>Papers Read at the 13th Meeting of the IMS Study Group „Cantus Planus“ Niederaltaich/Germany, 2006. Aug. 29-Sept. 4</em>. Budapest: Institute for Musicology of the Hungarian Academy of Sciences, S. 427–439. Available at: <strong><a href="http://www.uni-regensburg.de/Fakultaeten/phil_Fak_I/Musikwissenschaft/cantus/CPvolumes/2006.pdf#page=427" target="_blank">CP 2006</a></strong>.</div><div class="csl-entry">Maloy, R., 2009. <a href="http://journals.cambridge.org/action/displayAbstract?fromPage=online&aid=6068516" target="_blank">Scolica Enchiriadis and the ‘non-Diatonic’ Plainsong Tradition</a>. <em>Early Music History</em>, 28, S.61–96.</div><div class="csl-entry">Maloy, R., 2010. <a href="http://books.google.com/books?id=HrqFYZlOzckC" target="_blank">Inside the Offertory: Aspects of Chronology and Transmission</a>, Oxford, New York [etc.]: Oxford University Press.</div><div class="csl-entry">Caldwell, J., 2011. <a href="http://dx.doi.org/10.1017/S0961137111000118" target="_blank">Rebecca Maloy, Inside the Offertory: Aspects of Chronology and Transmission (Oxford and New York: Oxford University Press, 2010). X + 449 Pp., with Companion Website. £37.50. ISBN 978 0 19 531517 2</a>. <em>Plainsong and Medieval Music</em>, 20(02), S.193–201.</div></div></div>