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Un graduel-antiphonaire-responsorial noté sauvé de l'oubli. (Palimpseste Paris, B. N. F., Grec 2631) Région de Turin, Xe siècle
Marie-Noel Colette
Marie-Noel Colette
Abstract
A Greek manuscript of the Etymologica preserved in the Bibliothèque Nationale de France, Paris, Département des Manuscrits, was copied in the 13th century over a latin liturgical palimpsest. This ancient manuscript, still unknown, can be dated, according to its decoration, and repertory, from the 10 th century. It comes from the Turin (Italy) country, which is testified by the celebration of the saints Solutor, Adventor and Octavius (f. 177v). With 48 folios, it contains a Gradual, a Responsorial, and an Antiphonary. The sanctoral of the Gradual is completed by a Table which features on each line a dated feast and its chant incipits, 75 feasts of the whole year are copied there in 3 folios. The Antiphorary is distinct of the Responsorial, according to the Old Roman use. The musical notation is fine, light, thin, and precise, including special neumes of Novalesa. But the general aspect of the neumes is less uplifted than other italian neumes. The gregorian repertory and the notation show a close kinship with their French and Italian neighbours. It is a very beautiful testimony of the earlier organisation and musical writing of the liturgical latin repertories.
Spanning a millennium of musical history, this monumental volume brings together nearly forty leading authorities to survey the music of Western Europe in the Middle Ages. All of the major aspects of medieval music are considered, making use of the latest research and thinking to discuss everything from the earliest genres of chant, through the music of the liturgy, to the riches of the vernacular song of the trouvères and troubadours. Alongside this account of the core repertory of monophony, The Cambridge History of Medieval Music tells the story of the birth of polyphonic music, and studies the genres of organum, conductus, motet and polyphonic song. Key composers of the period are introduced, such as Leoninus, Perotinus, Adam de la Halle, Philippe de Vitry and Guillaume de Machaut, and other chapters examine topics ranging from musical theory and performance to institutions, culture and collections.
Liturgical Chant Bibliography 8 again lists publications covering all aspects of cantus planus, particularly Western chant. In order to present a clear overview of the various types of publications, they have been subdivided into: (1) Editions and facsimile editions, (2) Books and reprints, (3) Congress reports, (4) Chant journals, (5) Collections of essays, dictionaries and periodicals, (6) Articles in periodicals. Access to the contents of the bibliography is facilitated by separate indices of authors, subjects and manuscripts. Prefaced to the bibliography is a list of additions to Liturgical Chant Bibliographies 6 and 7.
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