No description available.

Interactions between polyphonic motets and monophonic trouvère song in the long thirteenth century have been characterised in a number of different ways. Mark Everist and Gaël Saint-Cricq have focused on motets' use of textual and musical forms usually thought of as typical of song. Judith Peraino, on the other hand, has explored the influence of motets on a range of pieces found in manuscripts that mainly contain monophonic songs. This thesis re-examines motet-song interaction from first principles, taking as its basis the 22 cases in which a voice part of a polyphonic motet is also found as a monophonic song. The thesis's analysis of this corpus has two central themes: chronology and quotation. In addressing the first, it develops a music-analytical framework to address the compositional processes involved in these case studies, arguing that in some of them a monophonic song was converted into a motet voice, while in others a motet voice was extracted from its polyphonic context to make a song. It also emphasises, however, that chronology is often more complicated than these two neatly opposed categories imply, showing that different song and motet versions can relate to each other in ways that are dynamic, complex, and often hard to recover from the extant evidence. The conversion of song material for motets and vice versa is placed within a larger context of musical quotation and re-use in the thirteenth century, showing that many of these case studies play with the pre-existence of their song or motet material: some transfer their voice parts from one medium to another in a way that consciously foregrounds their previous incarnations, whereas others mask the pre-existence of the voice part by absorbing it into new textual and musical structures. The thesis closes with a consideration of the wider implications of the motet-song interaction it analyses. It examines the generic boundary between songs and motets and suggests a model of generic analysis that centres on the complexities of manuscript transmission. Finally, it considers the use of refrains within its corpus of motets and songs, demonstrating that these short passages of music and text are often quoted in ways similar to those analysed in motets and songs earlier in the thesis.

No description available.

Rhythm in early Western polyphonic music.

During the eleventh century the Aquitanian monastery of St. Yrieix, located forty kilometers south of Limoges, acquired a new gradual, a manuscript containing the liturgical Mass chants for the year. The Gradual of St. Yrieix, now at the Paris Bibliothèque Nationale (Pa903), includes both text and music, redacted with the musical notation typical of the region of Aquitaine. The objective of this research is to analyze Pa903 as a document of liturgical musical practice and as a participant in the historical events of its region and time. While the Gregorian chant repertory dominates the gradual, this dissertation addresses the neo-Gregorian chants of Pa903, composed in the period following the dissemination of Gregorian chant throughout Europe. These neo-Gregorian chants were open to the influence of the contemporary regional musical style and cultural traditions surrounding St. Yrieix. Chapter II reviews the backdrop of historical events surrounding Pa903, focusing on the reform and expansion at St. Yrieix and its transition from a monastery to a chapter of canons. The musical and liturgical characteristics of Pa903 (Chapter III) show that St. vii Yrieix favored its senior patron St. Martin of Tours and St. Aredius (its patron saint) above St. Martial of Limoges (a powerful neighbor) and presented in the gradual a community of saints with strong regional influence. Chapters IV and V analyze the concordances of antiphons, tropes, prosulas, prosas, and neo-Gregorian Mass chants of Pa903 with those of the Aquitanian graduals and other sources throughout Europe. The tropes of the Proper and Ordinary, the complete repertory of prosulas and prosas, and the neo-Gregorian Mass chants of Pa903 are collected together here for the first time outside of Pa903. The neo-Gregorian chants are found in the sanctoral, temporal, and the ritual Masses and include a group of chants that reflects textual and musical elements of the prior Gallican tradition. The chant repertory of the gradual also presents a subgroup of forty-nine antiphons, prosas, prosulas, and neo-Gregorian Mass chants found only in Pa903, documented here with musical examples. / text

The chansonnier held by the Biblioteca Casanatense in Rome, designated Codex 2856 (0. V. 208), is a handsome volume containing 123 polyphonic compositions in the style of the Franco-Flemish School, circa 1450 to 1400. Although no text beyond the incipit is found in the manuscript, the value of the source is enhanced by the names of the composers of 106 of the compositions. Volume one focuses on the manuscript, giving a physical description of the manuscript, recounting the history of the manuscript, and includes discussion of selected composers and a concordance. Volume two contains the music of the chansonnier Biblioteca casanatense 2856.

The problem with which this investigation is concerned is that of comparing the medieval musical traditions of two of the world's most influential religions. The similarities are discussed in two major categories: the comparison of liturgical texts and ritual, and the comparison of the music appearing in each ritual. This study has one main purpose. That purpose is to demonstrate how, through musical traditions, each religion has developed through the influence of the other. Samples of the liturgies from the musical portions of the services were obtained from prayer books and references dealing with those religions. Investigations of English translations from the Latin and Hebrew revealed a close identity between the two, not only in scriptural uses, but also in prayers and responses. Musical examples demonstrating similar elements in Hebrew and Christian worship were found in the extensive research of A. Z. Idelsohn and Eric Werner. Due to the dispersal of world Jewry, the best examples of Hebrew medieval music were obtained from the most isolated Jewish communities, such as those of Yemen, Musical similarities included modes, melodic formulas, and hymns and songs. This report concludes that the musical portions of the services of Christianity and Judaism in the Middle Ages were strikingly similar, and their subsequent musical development was strongly influenced by their coexistence.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished