The Musical World of a Medieval Monk: AdA©mar de Chabannes in Eleventh-century Aquitaine

Cover......Page 1
Half-title......Page 3
Title......Page 5
Copyright......Page 6
Dedication......Page 7
Contents......Page 9
Preface......Page 11
A note on the musical examples and the edition......Page 17
CHAPTER 1 Introduction: Adémar de Chabannes and Saint Martial de Limoges......Page 19
SAINT MARTIAL DE LIMOGES......Page 22
THE MUSICAL COMMUNITY AT SAINT MARTIAL......Page 24
THE MUSICAL COMMUNITY IN THE ELEVENTH CENTURY......Page 29
ADÉMAR DE CHABANNES (989–1034)......Page 35
ADÉMAR AND PA 1121......Page 38
ADÉMAR, PA 909 AND THE APOSTOLICITY OF SAINT MARTIAL......Page 43
CHAPTER 2 Music scribe......Page 55
THE EARLY HISTORY OF NOTATION IN AQUITAINE......Page 58
THE NATURE AND FUNCTION OF MUSIC BOOKS PRODUCED AT SAINT MARTIAL......Page 63
A COMPARISON WITH THE USE OF MUSICAL NOTATION AT SAINT GALL......Page 67
THE IDENTIFICATION OF ADÉMAR’S MUSIC HAND......Page 70
THE PURPOSE OF MUSICAL NOTATION IN ADÉMAR’S MUSIC MANUSCRIPTS......Page 74
ADÉMAR’S MUSICAL NOTATION......Page 85
GROUPING AND LIGATION......Page 87
SPECIAL NEUMES: QUILISMA, INVERTED VIRGA, ORISCUS, PES STRATUS, TRISTROPHA......Page 88
LIQUESCENCE......Page 92
THE NOTATION OF SEQUENTIAE......Page 95
ADÉMAR’S COPYING TECHNIQUES......Page 103
CHAPTER 3 Compiler......Page 115
BORROWING AND ADAPTING AT SAINT MARTIAL......Page 116
THE APOSTOLIC MASS FOR MARTIAL......Page 123
THE TROPED MASSES FOR AUSTRICLINIAN AND JUSTINIAN......Page 133
THE APOSTOLIC OFFICE FOR MARTIAL......Page 134
THE APOSTOLIC OFFICE FOR MARTIAL: RESPONSORIES AND VERSES......Page 141
THE APOSTOLIC OFFICE FOR MARTIAL: TEXTUAL REVISIONS......Page 144
MINOR CHANTS OF THE OFFICE: VERSICLES, SHORT RESPONSORIES AND THE BENEDICAMUS DOMINO......Page 150
RESPONSORIAL TONES......Page 153
RESPONSORY MELISMATA......Page 172
CHAPTER 4 Editor......Page 177
TEXTED PIECES: LIQUESCENCE......Page 180
TEXTED PIECES: REPEATED NOTES AND DIFFERENCES IN PITCH......Page 192
UNTEXTED PIECES: THE COMMISSION AND CORRECTION OF ERROR......Page 200
UNTEXTED PIECES: EDITORIAL CORRECTION......Page 208
UNTEXTED PIECES: EDITORIAL REVISION......Page 213
EDITING THE DIVINE OFFICE: PA 909......Page 219
EDITING THE DIVINE OFFICE: PA 1978......Page 222
CHAPTER 5 Composer......Page 227
IDENTIFYING ADÉMAR’S ORIGINAL COMPOSITIONS......Page 230
THE SCOPE OF ADÉMAR’S ORIGINAL COMPOSITIONS......Page 235
OFFICES FOR SAINTS VALÉRIE, AUSTRICLINIAN AND CYBARD......Page 237
THE TEXTS......Page 242
MUSICAL IMAGES IN THE TEXTS......Page 249
ADÉMAR’S COMPOSITIONAL STYLE: ADAPTATIONS......Page 252
FORMULAIC COMPOSITION......Page 258
FREE COMPOSITIONS: OFFICE CHANTS......Page 261
SEQUENCE: ARCE POLORUM......Page 268
PROCESSION ON MONTJOVIS: AVE PASTOR OPTIME......Page 274
MELODIC REVISION: PRINCIPES POPULORUM AND ALLELVIA V BEATI OCULI......Page 282
CHAPTER 6 Singer......Page 290
BENEDICTINE MONASTICISM AND SINGING......Page 291
MUSIC IN ADÉMAR’S LITERARY WORKS......Page 293
ADÉMAR AS MUSIC SCRIBE AND EDITOR......Page 298
ADÉMAR AND MELISMATIC CHANT......Page 308
CHAPTER 7 Conclusion: The success of the apostolic campaign......Page 314
PA 1138/1338 AND THE PROSAE FOR SAINT MARTIAL......Page 317
PA 5240 AND THE HYMNS FOR MARTIAL......Page 323
PA 1119: ADÉMAR’S TROPED APOSTOLIC MASS AND PROSAE FOR MARTIAL......Page 326
PA 1137 AND 1132: THE CLUNIAC ADOPTION OF THE APOSTOLICITY......Page 334
MANUSCRIPTS IN WHICH THE MUSIC ONLY IS IN ADÉMAR’S HAND......Page 345
MANUSCRIPTS IN WHICH THE TEXT AND MUSIC ARE IN ADÉMAR’S HAND......Page 347
Tropes of the Proper of the Mass......Page 348
Office Propers......Page 349
TEXT ONLY......Page 351
Possible Lost Compositions......Page 353
OTHER MANUSCRIPTS......Page 354
ARTICLES, BOOKS AND EDITIONS......Page 356
ELECTRONIC RESOURCES......Page 376
Index of chants......Page 377
Index of manuscripts......Page 381
General index......Page 383