Early cistercian polyphony: a newly-discovered source

References (36)

1. "Mafalda (D.). D. Urraca Viegas was a daughter of Egas Moniz, a close companion of D. Afonso I, the first King of Portugal. Queen D. Mafalda was present at D. Urraca Viegas's burial in Salzedas in the early 1230s.
2. Fernando J. Pereira, "Bens eclesiásticos," Dicionário de História da Igreja em Portugal, A. A. Banha de Andrade, ed., (Lisbon: Resistência, 1983), 2: 625. 26
3. Aires A. Nascimento, "Alcobaça," Dicionário da Literatura Medieval Galega e Portuguesa, Giulia Lanciani and Giuseppe Tavani, eds. (Lisbon: Caminho, 1993), pp. 32- -35.
4. Pereira, "Bens," 623f. José Mattoso, "Dois séculos de vicissitudes políticas," in José Mattoso, História de Portugal (Lisbon: Círculo de Leitores, 1993), 2: 106. 28
5. Cocheril, Études, p. 244. Joaquim Veríssimo Serrão, História de Portugal, 4th ed., rev. (Lisbon: Ed. Verbo, 1990), 1: 123.
6. Dom Maur Cocheril, "Les monastères cisterciens du Nord du Portugal", Collectanea Ordinis Cisterciensium Reformatorum (1957), 19: 61-76, 163-182, 355-70, gives Alcobaça as Arouca's mother-abbey, but later, beginning with his Recherches sur l'Ordre de Cîteaux au Portugal (Lisbon: Bertrand, 1960 [offprint from the Bulletin des Études Portugaises, XXII]), 39n, refrains from such an assumption. In his Études, 10-11, he states that "Les abbayes de moniales portugaises [...] étaient presque toutes filles de Clairvaux, contrairement à l'opinion commune qui les plaçait dans la filiation d' Alcobaça." Fr. Fortunato de São Boaventura, Memorias para a vida da Beata Mafalda, Rainha de Castela e Reformadora do Mosteiro de Arouca (Coimbra: Universidade de Coimbra, 1814), p. 104, assumes that Arouca was affiliated with Clairvaux; this is infer- red from a document dated 1255 concerning the heritage of Maria Lourenço and Sancha Lourenço, in which two "Monachis Claravallensibus" are reported to have been present. It is doubtful that such an inference can be made. Liturgical affiliation was probably, in its origin, not a direct juridical link, but rather a consequence of the fact that all the Portuguese Cistercian monasteries, including Salzedas and Alcobaça, belonged to the Clairvaux family. 30 Those prior to 1226 have been published in Coelho, O mosteiro, Apêndice 1) First time: EE. 2) Repeat: different note-distribution. 3) First time: no flat sign. 4) First time: CCB. 5) First time: no flat sign. 6) MS: B. 7) Repeat: no D. 43
7. Fourth time: G in MS. 2) Third time: C in MS. 3) First time: C in MS.
8. Van der Werf, The Oldest Extant Part Music, 1: 9, 163; 2: 91.
9. See Bryan Gillingham, Cambridge, University Library, Ff. i. 17 (1) (Ottawa: The Institute of Mediaeval Music, 1989), for facsimile and transcriptions. On "Ad cantum leti- tie," see also Handschin, "Angelomontana polyphonica," 93; and John Bergsagel, "The Practice of Cantus Planus Binatim in Scandinavia in the 12th to 16th Centuries," Le Polifonie Primitive in Friuli e in Europa: Atti del congresso internazionale Cividale del Friuli, 22-24 agosto 1980, Cesare Corsi and Pierluigi Petrobelli, eds. (Rome: Torre d'Orfeo, 1989) pp. 71-75.
10. Madan and Craster, A Summary Catalogue of Western MSS, pp. 166f. Hermann
11. Grotefend, Zeitrechnung des Deutschen Mittelalters und der Neuzeit, 2/1: Kalender der Diöcesen Deutschlands, der Schweiz und Skandinaviens [with "Heiligen-Verzeichniss"] (Hannover: Hann, 1892), p. 146.
12. For instance, "Cantu miro" from the Aquitanian repertoire, and "Exultemus et North-East Italy (Example 10). 84 Given the probable French provenance of the Cambridge MS repertory, this identity indicates that in the Middle Ages melodic elaboration around a drone using seconds, thirds and fourths (as an upper limit) was more widespread than its present survival may suggest. Example 10. Cambridge, University Library, Ff.i.17, f. 4v
13. Ibid. and Karp, The Polyphony of Saint Martial, pp. 185f.
14. Cambridge University Library, MS Ff. i. 17, f. 4v. For ease of comparison, the drone-polyphony from the Val di Resia is presented schematically and in transposition. My two reductions are based on transcriptions presented by Agemennone and Facci, "Il cantare a coppia," 339f. (tr. 10: Canto di nozze "Tavana Ruscina") and Merkù, "Polifonia primitiva," p. 351 ("Ore ti triji krajave", A2).
15. Charles Edmond de Coussemaker, Scriptorum de Musica Medii Aevi -Novam Seriem a Gerbertina alteram (Paris, 1864; reprint Hildesheim: Georg Holms, 1963), 1: 95: "... unde major videtur dissonantia in tono, quam in aliquo alio modo" (for complete pas- sage, see below, note 127).
16. Erich Reimer, ed., Johannes de Garlandia: De mensurabili musica., Chapter 9, EXAMPLE 10 In the early thirteenth century, the author of Discantus positio vulga- ris speaks of the second as the most dissonant among intervals. 85 Later, Johannes de Garlandia classifies the major second as a "middle" disso- nance, that is, a more-or-less tolerable discord. 86 Franco speaks of the 88 Jeremy Yudkin, The Music Treatise of Anonymous IV -A New Translation (American Institute of Musicology, Hänssler-Verlag, 1985), Chapter Five, p. 70. Fritz Reckow, Der Musiktraktat des Anonymus 4 [Beihefte zum Archiv für Musikwissenschaft, IV/V] (Wiesbaden: Franz Steiner, 1967), 1: 79 (also in Coussemaker, Scriptorum, 1: 358): "Et si paenultima fuerit tonus in duplo supra tenorem ut in organo puro, optime erit con- cordans, quamvis tonus non sit concordantia." 89 The manuscript is described and the hymn transcribed in Michel Huglo, "Les débuts de la polyphonie à Paris: les premiers organa parisiens," Forum Musicologicum - Basler Beiträge zur Musikgeschichte, Band 3 (Winterthur, Switzerland: Amadeus Verlag, 1982), 124-31.
17. Mathiassen, The Style of the Early Motet (c. 1200-1250) -An Investigation of the Old Corpus of the Montpellier Manuscript (Copenhagen: Dan Fog Musikforlag, 1966), p. 189. 91 A transcription from Wolfenbüttel, Herzog August Bibliothek, MS 1206 (siglum: W2) can be found in Heinrich Husmann, "Medieval Polyphony," Anthology of Music, K. G. Fellerer, ed., (Cologne: Arno Volk, 1962), 9: 18. 92
18. Mathiassen, The Style of the Early Motet, p. 142.
19. Agostino Ziino, "Polifonia «Primitiva» nella Biblioteca Capitolare di 101 Transcription in Jacques Handschin, "A Monument of English Mediaeval Polyphony," Musical Times LXXIV (1933), 702, cited by Serge Gut, La tierce harmonique dans la musique occidentale -origines et évolution (Paris: Heugel & Cie, 1969), p. 9. 102
20. Ernest H. Sanders, "Peripheral Polyphony of the 13th Century," Journal of the American Musicological Society XVII (1964), 261-87, reprinted in The Garland Library, pp. 267-93. Gut, La tierce harmonique, pp. 12-15.
21. Richard Crocker, "Polyphony in England in the Thirteenth Century," The New Oxford History of Music, p. 689.
22. Higini Anglès, La música a Catalunya fins al segle XIII (Barcelona: Biblioteca de Catalunya, 1935), pp. 256f.; Gut, La tierce harmonique, p. 9. 105
23. Ziino, "Polifonia «arcaica» e «retrospectiva»," 195. The Gloria trope and the Credo are transcribed in Lütolf, Die mehrstimmigen, pp. 209f. 106 Transcription in Gerald Abraham (General Editor), The History of Music in Sound, Vol. II: Early Medieval Music up to 1300 (London: Oxford University Press, humilis" -comes from a late thirteenth-century Norwegian MS in Uppsala. 107
24. 107 Bergsagel, "The practice of Cantus Planus Binatim," 65-68.
25. 108 Fuller, "Early Polyphony," 514.
26. Gut, "La notion de consonance," 22, 28. Carl Dahlhaus, Studies on the Origin of Harmonic Tonality (Princeton: Princeton University Press, 1990), p. 74.
27. Gut, "La notion de consonance," 28. Dahlhaus, Studies, p. 79.
28. Dahlhaus, Studies, p. 79.
29. 112 Jeremy Yudkin, ed., De Musica Mensurata. The Anonymous of St. Emmeram. EXAMPLE 11
30. Quarterly XXXI (1945), 33-53.
31. 132 See also "Deus quam brevis est" and "Per partum virginis," referred to in Fuller, "Aquitanian Polyphony," 264. 133 Melody 131 in Stäblein, Hymnen, pp. 74f., 532-38.
32. 134 Ernest H. Sanders, "Voice-exchange," The New Grove, 20: 65f. Dom Joseph Pothier, "Remarques sur la liturgie, le chant et le drame," Le Graduel de l'Église Cathédrale de Rouen au XIIIe siècle, (Rouen: J. Lecerf, 1907), 1: Appendix, pp. 207-218 and Plates VIII-IX.
33. 135 Nicole Sevestre, "De lointains «ancêtres» des Benedicamus Domino du manus- crit de Las Huelgas," Revista de Musicología XIII (1990), 469-85.
34. Ernest Sanders, "Rondellus," The New Grove, 16: 170ff. Crocker, "Polyphony in
35. Robert J. Snow, "The History of Medieval Music: Are all our Premises Correct?", The Sixth Gordon Athol Anderson Memorial Lecture delivered at the University of New England, Armidale, on 25th August, 1988, 26 (Illustration II). This paper dates largely from 1969-1970. The illustration compares signs in Paris, Bibliothèque Nationale lat. 3549 and London, British Library, Add. 36881. 145
36. Karp, The Polyphony of Saint-Martial, pp. 140-43 (on Paris, Bibliothèque Nationale, lat. 3549 and 3719). Karp's book was mostly written between 1967 and 1979. 146 See Bartolomé Molina's Arte de Canto Llano llamado Lux Videntis(1503) and Aguilar's Arte de Principios de Canto Llano (published between 1530 and 1537, accor- ding to León Tello, "Aguilar, Gaspar de," The New Grove, 1: 169); both treatises are quo- ted by Celso Abad Amor, "Los signos en el canto llano," Estudios sobre los teoricos espa- ñoles de canto gregoriano de los siglos XV al XVIII (Madrid: Sociedad Española de Musicología, 1980), pp. 204, 236. See also from the present author, "As Origens do Gradual de Braga," Didaskalia XXV (1995), 59f. 147 The value of the maxima caudata is indicated by the number of strokes crossing it. Cf. Reckow, Der Musiktraktat des Anonymus 4, 2: 46, 47n.