Thesis (Ph. D.)--Brandeis University, 1980. / Contains a complete inventory and transcription of the office antiphons in Ms. San Petronio B 79 of the Biblioteca Apostolica Vaticana, Rome.

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, Crestwood, N.Y., 2003. / Abstract. Includes bibliographical references (leaves 97-100).

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, Crestwood, N.Y., 2003. / Abstract. Includes bibliographical references (leaves 97-100).

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, Crestwood, N.Y., 2003. / Abstract. Includes bibliographical references (leaves 97-100).

To date, there has been no detailed or comparative analysis of the repertory known as the Old-Roman Chant. Although the historical and liturgical problems created by the recent discovery of this repertory may be found in scattered writings, no one has published a detailed study of the music itself. Those that have written on the Old-Roman melodies have confined their attention to isolated examples. This study is concerned with the Introits, Offertories, and Communions of MS Vat. lat. 5319, an Old-Roman Graduale which dates from the late eleventh century. Whenever possible, a comparison has been made with their Gregorian counterparts. The introduction summarizes the basic, historical study of the Old-Roman repertory; the three main chapters treat each antiphon cycle in turn; and the final chapter places the work of this thesis in an overall context. That we are dealing with an early repertory is indicated by such features as the close relationship between the Communion antiphons and their verses and the striking uniformity in cadential patterns. Although the Old-Roman version bear a close musical relationship to the Gregorian, certain evidence indicates that they are earlier. The basic form of all the Old-Roman Mass antiphons is clearly a recurring psalm-tone formula which usually appears in an ornamented form throughout the chant. This feature is not as evident in the Gregorian melodies and may well be a link to an earlier oral tradition. An example is offered for the difference in melodic style between the Old-Roman Introits, Offertories, and Communions. The Offertories and Communions can be seen as elaborations of earlier simpler forms still represented by the Introits. In short, the ornate antiphons of MS Vat. lat. 5319 are shown to be, basically, redactions prior to their Gregorian counterparts. / Arts, Faculty of / Music, School of / Graduate

The musical structure of Hildegard von Bingen's "O quam mirabilis est" is directly linked to its notational system. After placing Hildegards's antiphons within an historical context in chapter one, chapter two reviews three previous analyses of "O quam mirabilis est" by Bronarski (1922), Cogan (1990) and Pfau (1990). The first two analyses ignore the syntax and expression of the text by focusing on the motivic level. The third analysis, though it embraces the text, lacks a formalization in its theoretical model. None of the analyses respond to the original notation. In response, chapter three examines the notation found in the sources containing Hildegard's music (the Riesenkodex and the Dendermonde codex) and discusses the structural importance of pitches within the neumatic groupings. The resulting graphic analysis adapt Schenkerian analytic notation to represent a hierarchy of pitch relationships. Chapter four applies this methodology to four other antiphons by Hildegard: "Hodie aperuit," "Nunc gaudeant," "O virtus sapientie," and "O virgo ecclesia."

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Of the three manuscripts that form the basis of this thesis, MS Cape Town, South African Library, Grey 4c7 is, in musicological terms the most important of the three manuscripts. It is a complete Carthusian Antiphonary, of the late 14th century, written for the Charterhouse of Champmol, near Dijon, the mausoleum of the Dukes of Burgundy. It also contains an extensive Tonary, a Hymnary and a Kyriale. The two didactic verses which form part of the Tonary are of particular importance, since MS 4c7is one of the few manuscripts in the world intended for musical performance to contain the Ter terni by William of Hirsau; furthermore it is apparently the only Carthusian manuscript of any kind to contain the Oyapente et dyatessaron by Hucbald. The manuscript is placed in the context of the Carthusian liturgy of the 12th to the 16th centuries and is compared with 33 manuscripts of this period. It is shown that, although a marked textual similarity exists between the manuscripts, there are variant melodies. The conclusion is therefore drawn that the Carthusians did not have a single exemplar for the melodies in their liturgical books. It is shown that MS 4c7 and MS Oijon, Bibliotheque municipale 118, also written for Champmol, were copied from the same exemplar and that they are closely related to MSS Beaune, Bibliotheque municipale 27, 34 and 41, ot the neighbouring Charterhouse of Fontenay. The second manuscript, MS Grey 3c23, an Antiphonary for nuns, for Lauds and Vespers, written for the Charterhouse of Mont-Sainte-Marie, at Gosnay, near Arras, has been dated 1538 by the original scribe. This manuscript is almost identical to MS AGC C II 817. The presence of a Sequence, foreign to the Carthusian tradition, is however unique toMS 3c23. The third manuscript, MS Grey 6b3, is an Evangeliary, signed by the scribe, Amelontius de Ercklems, in 1520. Its provenance is the Charterhouse of Our Lady of the Twelve Apostles at Mont-Cornillon near Liege. Musicological features of the manuscript which are discussed are the Hymn 'Te decet laus', and the accent neumes at the ends of pericopes. / Art History, Visual Arts & Musicology / D.Mus. (Musicology)

Of the three manuscripts that form the basis of this thesis, MS Cape Town, South African Library, Grey 4c7 is, in musicological terms the most important of the three manuscripts. It is a complete Carthusian Antiphonary, of the late 14th century, written for the Charterhouse of Champmol, near Dijon, the mausoleum of the Dukes of Burgundy. It also contains an extensive Tonary, a Hymnary and a Kyriale. The two didactic verses which form part of the Tonary are of particular importance, since MS 4c7is one of the few manuscripts in the world intended for musical performance to contain the Ter terni by William of Hirsau; furthermore it is apparently the only Carthusian manuscript of any kind to contain the Oyapente et dyatessaron by Hucbald. The manuscript is placed in the context of the Carthusian liturgy of the 12th to the 16th centuries and is compared with 33 manuscripts of this period. It is shown that, although a marked textual similarity exists between the manuscripts, there are variant melodies. The conclusion is therefore drawn that the Carthusians did not have a single exemplar for the melodies in their liturgical books. It is shown that MS 4c7 and MS Oijon, Bibliotheque municipale 118, also written for Champmol, were copied from the same exemplar and that they are closely related to MSS Beaune, Bibliotheque municipale 27, 34 and 41, ot the neighbouring Charterhouse of Fontenay. The second manuscript, MS Grey 3c23, an Antiphonary for nuns, for Lauds and Vespers, written for the Charterhouse of Mont-Sainte-Marie, at Gosnay, near Arras, has been dated 1538 by the original scribe. This manuscript is almost identical to MS AGC C II 817. The presence of a Sequence, foreign to the Carthusian tradition, is however unique toMS 3c23. The third manuscript, MS Grey 6b3, is an Evangeliary, signed by the scribe, Amelontius de Ercklems, in 1520. Its provenance is the Charterhouse of Our Lady of the Twelve Apostles at Mont-Cornillon near Liege. Musicological features of the manuscript which are discussed are the Hymn 'Te decet laus', and the accent neumes at the ends of pericopes. / Art History, Visual Arts and Musicology / D.Mus. (Musicology)