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Three unknown Carthusian liturgical manuscripts with music of the 14th to the 16th centuries in the Grey Collection, South African Library, Cape TownSteyn, Frances Caroline 11 1900 (has links)
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)
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Three unknown Carthusian liturgical manuscripts with music of the 14th to the 16th centuries in the Grey Collection, South African Library, Cape TownSteyn, Frances Caroline 11 1900 (has links)
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)
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Recepce «germánského chorálního dialektu» v první polovině 20. století / The reception of the german dialect of the gregorian chant between 1900 an aprox. 1950Zimmer, Markus January 2021 (has links)
The reception of the german dialect of the gregorian chant between 1900 an aprox. 1950 (Abstract) In today's musicology, the germanic chant dialect («germanischer Choraldialekt») ist nearly unimportant. Especially in the first half of the 20th century, it was very different. In particular, the invention of the term by Peter Wagner of Fribourg in 1925 promoted the perception of a melodic phenomenon, which can be found equally in many sources of plain chant in central europe. The oldest witnesses of the phenomenon are adiastematic sources, the youngest ones were restored, restituted or newly composed in the first half of the 20th century. So this tradition is existing for more than 1000 years. The present work examines how this tradition has been scientifically, historically and practically elaborated in the last century. The chapter on the history of research shows that the phenomenon of the germanic chant dialect was still considered a local tradition of individual dioceses or monasteries in the 19th century. Michael Hermesdorff from Trier was the first to recognize striking similarities between these fragmented traditions; his pupil Peter Wagner founded the basics of the scientific research. Not all musicologists agreed with Wagner's findings and explanations, but his term and his theory prevailed. In the...
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