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• Illo Humphrey | Ph. D.-HDR | Lecture-Concert | Carolingian Liberal Arts & Humanities | University-of-Limerick-Ireland | Academia.edu | 19-VII-2016 •

Abstract and Figures

• Illo Humphrey | Ph.D.-HDR | Université Bordeaux Montaigne | France • • Mediævalist | Musicologist | Proto-Philologist | Concert Baritone | Simultaneous Interpreter • • LECTURE: Carolingian Liberal Arts & Humanities • • CONCERT: a cappella of Pre-“Gregorian” & “Gregorian” Chant • • Ollscoil Luimnigh | University of Limerick • • Dámh Chruinne Éireann Rince agus Ceol | Irish World Academy of Music & Dance • • IWA1-08 – 10:30 a.m. | IWA-Theatre 1 – 12:05 p.m. | 19-VII-2016 • • This scientific-pedagogical Lecture on the Carolingian Liberal Arts & Humanities is fourfold. The four closely interrelated capitula briefly developed here are as follows: • [¶1] The Philosophy of Numbers and Proportions, and corollary: The Philosophy of Musical Sounds • • [¶2] The Philosophy of the Cognitive Process in relation to musical sound • • [¶3] Proto-Philology | Latin Stenography | Notae sententiarum (Isidorus Etym. I:21): a new “ecdotique” Approach • • [¶4] The complex Transition from the Carolingian oral musical tradition to the Carolingian written musical tradition • • Each of the 4 capitula will have brief indications on Vocabulary, Sources, Key Concepts, one or two pertinent citations and images, highlighting succinctly the section, and a brief Conclusion. The 4th and last section will have 2 musical examples: (1) the Hymn-Psalm Te Deum laudamus, highlighting the sung Pre-“Gregorian” Chant liturgy, (2) the Introit anthem of the Easter Day Mass, Reurrexi (Ps. 138: 18, 5,6,1-2) highlighting the “Gregorian” Chant liturgy with its transitional musical notation in neumes, that is to say the Carolingian and post-Carolingian musical palæography • • Nota bene: The Lecture is followed by a short a cappella Concert of Pre-“Gregorian” and “Gregorian” Chant. See pages 23 and 24 of this document • • IH | Ih | Ph. D.-HDR | Explicit • Research Interests: Plato and Platonism, • Proto-Philology (“ecdotic” | text transmission | manuscript genealogy | stemma | non-normative critical editions) •, Boethius De institutione musica libri quinque De musica Boethian Glosses Boethius De institutione arithmetica libri duo De arithmetica Carolingian manuscripts Scribal Errors •, and • Plato | Nikomachos | Boethius | Philosophy of numbers and proportions | ars mathematica | Philosophy of musical Intervals | ars musica | Numbers and the Cognitive Process | Music and the Cognitive Process •
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ILLO HUMPHREY, PH. D.-HDR - 1 -
• Lecture | Carolingian Liberal Arts & Humanities: pages 1-22 | IWA1-08 – 10:30 a.m. | 19-VII-2016 •
• Concert
a cappella
: PRE-“GREGORIAN & “GREGORIAN CHANT: pages 23-24 | IWA-Theatre 1 – 12:05 p.m. | 19-VII-2016
• Ollscoil Luimnigh / University of Limerick |mh Chruinne Éireann Rince agus Ceol / Irish World Academy of Music & Dance •
Paris, Bibliothèque nationale de France, Fonds latin 1, f. 215v
(Frontispice of the Book of Psalms)
• Bible of the Abbot Vivian | “1st Bible of Charles II the Bald” •
Origin: Saint-Martin de Tours • Beneficiary: Charles II “the Bald” • Date: ca. 845-846 •
BIBLIOTHEQUE NATIONALE DE FRANCE (Richelieu) http://archivesetmanuscrits.bnf.fr/ead.html?id=FRBNFEAD000008447
HUMPHREY (Illo), « La philosophie de l’image dans la pratique iconographique carolingienne (quelques observations sur la
pratique iconographique en Neustrie au IXe siècle) : l’exemple du scriptorium de Saint-Martin de Tours entre 830 et 851 », in Colloquia
Aquitana II – 2006 Boèce ([Boethius], Rome, ca. 480 Pavie, ca. 524), l’homme, le philosophe, le scientifique, son oeuvre et son rayonnement, 2
Volumes, Illo Humphrey (ed.), Paris (Éditions Le Manuscrit), 2009, Volume 1, Chapter 3, p. 279-313 : https://u-
bordeaux3.academia.edu/IlloHumphrey/Bookshttps://www.researchgate.net/profile/Illo_Humphrey/publications
Π – π = ἡ πρακτική, τῆς πρακτικῆς Θ – θ = ἡ θεωρητική, τῆς θεωρητικῆς
(cf. Boethii Consolatio Philosophiæ, I, Prosa, 1: ed. R. Peiper, p. 4 • Cassiodori Institutiones, II, III, 4: ed . R. Mynors, p. 110)
ILLO HUMPHREY, PH. D.-HDR - 2 -
• Lecture | Carolingian Liberal Arts & Humanities: pages 1-22 | IWA1-08 – 10:30 a.m. | 19-VII-2016 •
• Concert
a cappella
: PRE-“GREGORIAN & “GREGORIAN CHANT: pages 23-24 | IWA-Theatre 1 – 12:05 p.m. | 19-VII-2016
• Ollscoil Luimnigh / University of Limerick |mh Chruinne Éireann Rince agus Ceol / Irish World Academy of Music & Dance •
ILLO HUMPHREY, PH. D.-HDR
• Mediaevalist | Musicologist | Proto-Philologist | Concert-Baritone | Trilingual Simultaneous Interpreter •
https://u-bordeaux3.academia.edu/IlloHumphrey
https://www.researchgate.net/profile/Illo_Humphrey/publications
http://www.colloquiaaquitana.com/?page_id=754 http://orcid.org/0000-0002-1130-0397
https://u-bordeaux3.academia.edu/IlloHumphrey/Concerts-Duo-Vox-Nova
https://u-bordeaux3.academia.edu/IlloHumphrey/Simultaneous-Interpreter
L
LL
LECTURE
C
CC
Carolingian L
LL
Liberal A
AA
Arts & H
HH
Humanities
C
CC
Concert
a cappella
P
PP
PRE-G
GG
GREGORIAN & G
GG
GREGORIAN C
CC
CHANT
OLLSCOIL LUIMNIGH / UNIVERSITY OF LIMERICK
DÁMH CHRUINNE ÉIREANN RINCE AGUS CEOL / IRISH WORLD ACADEMY OF MUSIC & DANCE
IWA 1-08 – 10:30 a.m. | IWA Theatre 1 – 12:05 p.m. | 19-VII-2016
TABLE OF CONTENTS:
Pages:
1 Frontispice | « David rex et Prop[heta] » | Paris, BnF, Fonds Latin 1, 9th c. | f. 215v
2 Table of Contents
3 Short Introduction | [¶1] Philosophy of Numbers | Proportions | Musical Sounds
4 Figure 1 | « ἡ τῆς ψύχης γένεσις »
| “The Genesis of the Soul-Consciousness”
5 Figure 2 | The Regime of the Octave •
6 Figure 3 | The Regime of the Perfect Fifth •
7 Figure 4 | The Chart of Musical Intervals and their mathematical Proportions •
8 [¶2] Philosophy of the Cognitive Process
9 [¶3] Proto-Philology | Latin Stenography | Notae sententiarum (Isidorus Etym. I: 21)
10 Figure 5 | Latin Stenography (“Tironian Notes”)
11 Figure 6-a | Notae sententiarum | Cross-Reference & Annotation Signs •
12 Figure 6-b | Notae sententiarum | Cross-Reference & Annotation Signs •
13 Figure 6-c | Notae sententiarum | Cross-Reference & Annotation Signs •
14 [¶4] Transition from Oral musical Tradition to Written musical Tradition
15 Nota bene (1) | About the Sigla M-R-B-C-K-S-λ
16 Figure 7 | Musical Example 1-a: Hymn-Psalm Te Deum laudamus (Verses 1-10)
17 Figure 7 | Musical Example 1-b: Hymn-Psalm Te Deum laudamus (Verses 10-20)
18 Figure 7 | Musical Example 1-c: Hymn-Psalm Te Deum laudamus (Verses 20-29)
19 Nota bene (2) | On the Hymn-Psalm Te Deum laudamus
20 Figure 8 | Musical Example 2: Antiphona ad Introitum IV Resurrexi
21 Figure 9 | « David rex et Propheta » | Paris, BnF, Fonds Latin 1, 9th c. | f. 215v
22 Nota bene (3) | Proto-philological Description of Paris, BnF, Fonds latin 1, f. 215v
23-24 CONCERT a cappella • PRE-“GREGORIAN & “GREGORIAN CHANT: PROGRAMME
«
M
MM
M
usica habet quandam naturalem vim ad flectendum animum»
ILLO HUMPHREY, PH. D.-HDR - 3 -
• Lecture | Carolingian Liberal Arts & Humanities: pages 1-22 | IWA1-08 – 10:30 a.m. | 19-VII-2016 •
• Concert
a cappella
: PRE-“GREGORIAN & “GREGORIAN CHANT: pages 23-24 | IWA-Theatre 1 – 12:05 p.m. | 19-VII-2016
• Ollscoil Luimnigh / University of Limerick |mh Chruinne Éireann Rince agus Ceol / Irish World Academy of Music & Dance •
Hymnus-Psalmus pro gratiarum actione | Divinum Officium Vigilarum | Te Deum laudamus | Tonus sollemnis
Short Introduction
This scientific-pedagogical Lecture on the Carolingian Liberal Arts & Humanities is fourfold. The four closely
interrelated capitula [chapters] briefly developed here are as follows:
[¶1] The Philosophy of Numbers and Proportions, and corollary: The Philosophy of Musical Sounds
[¶2] The Philosophy of the Cognitive Process in relation to musical sound
[¶3] Proto-Philology | Latin Stenography | Notae sententiarum (Isidorus Etym. I:21): a new “ecdotique” Approach •
[¶4] The complex Transition from the Carolingian oral musical tradition to the Carolingian written musical tradition •
Each of the 4 capitula will have brief indications on Vocabulary, Sources, Key Concepts, one or two pertinent citations
and images, highlighting succinctly the section, and a brief Conclusion. The 4th and last section will have 2 musical
examples: (1) the Hymn-Psalm Te Deum laudamus, highlighting the sung Pre-“Gregorian” Chant liturgy, (2) the Introit
anthem of the Easter Day Mass, Reurrexi (Ps. CXXXVIII: 18, 5,6,1-2) highlighting the “Gregorian” Chant liturgy with its
transitional musical notation in neumes, that is to say the Carolingian and post-Carolingian musical palæography. The
Lecture is followed by a short a cappella Concert of Pre-“Gregorian” and “Gregorian” Chant; see, infra, pages 23 and 24 •
• [¶1] (a) THE PHILOSOPHY OF NUMBERS AND PROPORTIONS
• Vocabulary 1: (Greek: ἡ ἀριθμητικὴ τέχνη | Latin: ars arithmetica) •
• Vocabulary 2: (Greek: τῆς ψυχῆς γένεσις | ἡ ψυχογονία, -ας | Latin: Animae generatio | Mundi anima) •
• Vocabulary 3: 1
2
3
4
9
8
27
243
256 = Structure of the Soul according to Πλάτων
• Source 1: Πλάτωνος Τίμαιος ἢ περὶ Φύσεως π’ λε B - λϚ’ B (Plátonos Tímaios ou à propos de la Nature §35B-§36B)
• Source 2: Νικόμαχος ὁ Γερασηνός Ἀριθμητικὴ εἰσαγωγή, Αʹ, Ϛʹ : αʹ γʹ
(Nikómachos o Gerasinós, Pythagórikou arithmitikì Eisagogí, I, 6, ¶1-¶3)
• Source 3: Boethii De institutione arithmetica I: 2 “De substantia numeri” •
• Source 4: Illo Humphrey, Boethius De institutione arithmetica libri duo. Édition proto-philologique intégrale princeps d’un
manuscrit du IXe siècle (Paris, BnF, Fonds latin 14064), Texte, gloses, notes tironiennes, signes de renvoi. Ottawa, 2007, f. 4v
• [¶1] (b) THE PHILOSOPHY OF MUSICAL SOUNDS, INTERVALS, AND CONSONANCES
• Vocabulary: (Greek: ἡ μουσικὴ τέχνη | ὁ ϕθόγγος,
ου | Latin: ars musica | phthongos | Musical Sound)
• Source 1: Πλάτωνος Τίμαιος ἢ περὶ Φύσεως π’ (Plátonos, Tímaios ou à propos de la Nature §80)
• Source 2: Boethii De institutione musica I: 8 “Quid sit sonus, quid intervallum, quid consonantia”
• Key Concept 1: Substantia numeri (Greek: ἡ τοῦ ἀριθμοὺ οὐσία) •
• Key Concept 2: Regime of the Octave (Latin: continua proportio superparticularis)
• Source 1: Boethii De institutione arithmetica I: 2
• Source 2: De institutione arithmetica II: 2 | De institutione musica 2: 8 •
• CONCLUSION: Dixit Illo [HDR Dissertation | 2014] “The finality of my research on ars arithmetica and ars musica is to examine in detail why
both Πλάτων and Boethius spontaneously called upon the philosophy of numbers and proportions and on the philosophy of musical sounds in
order to explain the genesis of the soul, that is to say the genesis of consciousness. Indeed, the Cognitive Process seems in fact to be based on the Essence of
Number, and on the Regime of the Octave, and that its basic structure seems to be determined by non other than musical sound, and by sound itself:
ϕθόγγος,
ου (Πλάτωνος Τίμαιος π’: 80) | phthongos (Boethius, De musica I, 8). To be sure, one can observe that Sound itself is capable of
imprinting its structure on both mind and matter. It is most interesting to observe that in the Sanskrit language, the two word-concepts for “primordial
sound” are: « ôom » | « aum »: 

 (primordial sound | primordial mantra | vital vibration), and «
ghoSati
»: ш
шш
ш
ш
шш
ш (vital sound | voice sound | loud cry)
Π – π = ἡ πρακτική, τῆς πρακτικῆς Θ – θ = ἡ θεωρητική, τῆς θεωρητικῆς
(cf. Boethii Consolatio Philosophiæ, I, Prosa, 1: ed. R. Peiper, p. 4 • Cassiodori Institutiones, II, III, 4: ed . R. Mynors, p. 110)
ILLO HUMPHREY, PH. D.-HDR - 4 -
• Lecture | Carolingian Liberal Arts & Humanities: pages 1-22 | IWA1-08 – 10:30 a.m. | 19-VII-2016 •
• Concert
a cappella
: PRE-“GREGORIAN & “GREGORIAN CHANT: pages 23-24 | IWA-Theatre 1 – 12:05 p.m. | 19-VII-2016
• Ollscoil Luimnigh / University of Limerick |mh Chruinne Éireann Rince agus Ceol / Irish World Academy of Music & Dance •
Figure 1
« ἡ τῆς ψύχης γένεσις »
(“The Genesis of the Soul-Consciousness”)
(i.e. « ἡ ψυχογονία, -ας » « animae generatio » « anima mundi » « l’âme du monde » « The World Soul »)
© Illo Humphrey | 2000
• (Mixture of the R
RR
Regime of the Octave: 1
2 n
and the R
RR
Regime of the Perfect Fifth: 1
3 n
) •
Cf. Πλάτωνος Τίμαιος ἢ περὶ Φύσεως
Λεʹ, ΛϚʹ (Tímaios, or On nature, 35B – 37A)
« ἡ τῆς ψύχης γένεσις »
« Ἤρχετο δὲ διαιρεῖν ὧδε• μίαν ἀφεῖλεν τ πρῶτον ἀπὸ παντὸς μοῖραν• μετὰ δὲ ταύτην ἀφῄρει
διπλασίαν ταύτης• τὴν δ᾽ αὖ τρίτην ἡμιολίαν μὲν τῆς δευτέρας• τριπλασίαν δὲ τῆς πρώτης•
τετάρτην δὲ τῆς δευτέρας διπλῆν• πέμπτην δὲ τριπλῆν τῆς [35c] τρίτης• τὴν δ᾽ ἕκτην τῆς πρώτης
ὀκταπλασίαν• ἑβδόμην δ᾽ ἑπτακαιεικοσιπλασίαν τῆς πρώτης »cf. Paris, BnF, Fonds grec 1807
(Constantinople, 9th c.), f. 120v, column 1 : lines 20-32.
« <Voici comment il [Dieu] commença cette division.> D’abord il sépara du tout une partie ; puis, une autre double de la première ; une troisième
valant une fois et demie la seconde et trois fois la première ; une quatrième double de la seconde ; une cinquième triple de la troisième ; une sixième
valant huit fois la première ; une septième valant la première vingt-sept fois ». (1)
________________________________
(1) Cf. Thomas-Henri Martin, Études sur le Timée de Platon, (texte grec avec traduction française en regard, notes et dissertations l’Atlantide, l’âme du monde, etc.),
Paris, 1841 (2 vol.), 1981 (Vrin – Reprise, 2 volumes bound in one), vol. I, p. 96-99), p. 383-389: Note XXIII ¶1 = (Division arithmétique de l’âme); diagram attributed
to Κράντωρ Σολεὺς θαυμαζόμενος, student of Ξενοκράτις ὁ Χαλκιδόνιος (Xenocrátis o Chalcidónios, -314), cf. « ἡ ψυχογονία, -ας »: Πλούταρχος
Χαιρωνεύς, τὰ Ἠθικά Υιεʹ [Ploútarchos, Ethics | Moralia 415]| « animæ generatio »: Boethii De arithmetica II, 2 | « mundi anima » : Boethii De musica I, 1)
BOETHII De institutione arithmetica I: 2 DE SUBSTANTIA NUMERI Omnia quæcunque a primæva rerum natura constructa
sunt• numerorum uidentur ratione formata• Hoc enim fuit principale in animo conditoris exemplar• Hinc enim quattuor
elementorum multitudo mutuata est• Hinc temporum uices• Hinc motus astrorum caelique conuersio• Quae cum ita sint•
cumque omnium status numerorum colligatione fungatur• eum quoque numerum necesse• est• in propria semper sese habentem
aequaliter substantia permanere…”
English: “All things in the universe, whatever they may be, were constructed and formed, from the very beginning of time,
so it seems, based on the ratio of numbers. THIS [i.e. the ratio of numbers], without any doubt, was the principal [and
structural] model in the mind of the Creator. Hence, [from this principle], there came into being the plurality of the 4
elements; Hence, from the same principle came into being the change of seasons; Hence, as of the selfsame principle the
movement of the heavenly bodies is produced. So, this being true, [that is to say, inasmuch as all things are composed through the
ratio of numbers], and inasmuch as the laws of nature [and the constitution and essence of all created things], function in close
relationship with the ratio of numbers, it is then indispensable for numbers to always remain permanently and uniformly in their own
substance [that is to say they must always remain rigorously within the logic of reasoning, proper to the principle of numbers]…”; ed. G.
Friedlein, p. 12; J.-Y. Guillaumin, p. 11, I. Humphrey, Boethius De institutione arithmetica libri duo, f. 4v°: 16-24 •
• This extraordinary concept, instructive in all respects, is at the very basis of Epistemology, and is indeed one of the connecting threads of the
long-standing Philosophy of Numbers and Proportions between the treatise Πλάτωνος Τίμαιος ἢ περὶ Φύσεως λε′Β - λϚ′Β (Plato, ca. 347
BCE, Timaios or on Nature ¶35B – ¶36B), and the treatise Boethii De institutione arithmetica libri duo, I: 2 and II: 2; Illo Humphrey, « Le Régime de
l'Octave: Principe fondamental de raisonnement arithmétique et musical chez Πλάτων, chez Νικόµαχος Γερασηνός et chez Manlius
Boethius », in Proceedings of ICONEA-2014: Arithmetical Subjectivism or Unconscious Knowlegde ?, Richard J. Dumbrill (ed.), London, 2017,
forthcoming: https://u-bordeaux3.academia.edu/IlloHumphrey/Papershttps://www.researchgate.net/profile/Illo_Humphrey/publications
ILLO HUMPHREY, PH. D.-HDR - 5 -
• Lecture | Carolingian Liberal Arts & Humanities: pages 1-22 | IWA1-08 – 10:30 a.m. | 19-VII-2016 •
• Concert
a cappella
: PRE-“GREGORIAN & “GREGORIAN CHANT: pages 23-24 | IWA-Theatre 1 – 12:05 p.m. | 19-VII-2016
• Ollscoil Luimnigh / University of Limerick |mh Chruinne Éireann Rince agus Ceol / Irish World Academy of Music & Dance •
Figure 2
© Illo Humphrey | 1992
The R
RR
Regime of the Octave
« ἁρμο
οο
ον
νν
να » | « ἡ διὰ πασῶν [χορδῶν συμϕωνία] » | « diplasia proportio » | « duplum »
The absolute proportional value (a p v) of the octave is 1 to 2 •
• About this Chart •
This Chart is designed to facilitate the understanding of the different pedagogical descriptiones which one encounters in the manuscript
traditions of treatises on ars arithmetica and ars musica, such as those found in the Boethii De instituttione arithmetica et De institutione musica. This
presentation is most convenient in that it allows one to determine immediately a given interval represented by a given number in
relationship to another number, and, consequently, in relationship to the fundamental
Unity
[i.e. the number 1]. Horizontally, the chart
goes from 1 to infinity in ordinal numbers, which corresponds perfectly to what Boethius calls medietas arithmetica” (De arithmetica II, 43),
then, vertically, it reads from 1 to 22 to 2n to infinity, corresponding perfectly to the first part of what Boethius calls “ medietas geometrica
(De arithmetica II, 44). In reading this chart horizontally from left to right, one observes, as of the fundamental DO, that the more the
numerical value is high, the higher is the musical frequency ; then, of course, the same is true in reading vertically from bottom to top, one
observes that the higher the numerical value, the higher is the musical frequency. One may also observe, reading horizontally, that as the
ordinal numerical values go higher, the musical intervals between the successive frequencies become progressively smaller. Now, in order to
determine the proportion between two given values in relationship to the fundamental
Unity
, one need only to divide the larger by the
smaller (e.g. 12288 ÷ 213 [8192], in other words 3÷2 = 1
1.5: διὰ πέντε, i.e. the
perfect fifth
). Then, in order to reduce a given
number to its smallest value just above the fundamental
Unity
, one need only to divide it by the multiple of 2n immediately inferior to it
(e.g. 6144 ÷ 212 [4096], in other words 3÷2 = 1
1.5: διὰ πέντε, i.e. the
perfect fifth
• or 10240 ÷ 213 [8192] in other words 5÷4 = 1
1.25: ἐπιτέταρτος, i.e. the «
pur
» or «
natural
»
major third
or 13824 ÷ 213 [8192] = 1
1.6875: i.e. the
major sixth
, and so
on). One observes also, according to the same inverse reasoning, that: 1.5 x 213 = 12288 1.333 x 6144 =
ca
. 213 1.25 x 213 = 10240 •
and that 1.6875 x 213 = 13824). This mode of arithmetical reasoning corresponds to what Boethius calls
substantia numeri
“, which is
the basis of the fundamental conceptual unity between ἐπιστήμη and ϕιλοσοϕία. In conclusion, the definition of the Regime of
the Octave, including all its different functions represented here on our chart, is clearly expressed in terms of algebra by the following
algorithm of the regime of the octave:
G
GG
Given f
ff
f being the function of the parameters: v going from + 0
(v Є
ЄЄ
Є N) • n going from + 0
(n Є
ЄЄ
Є N) • then f
f f
f (v, n) = v / (2n) = 1
a p v
• That is to say f
ff
f (27 648, 14) = = 27 648 / 214 = = 1
1.6875 • [v = valuea p v = absolute proportional valuei. inf. = immediately inferior] •
HUMPHREY (Illo), « Le Régime de l'Octave: Principe fondamental de raisonnement arithmétique et musical chez Πλάτων, chez
Νικόµαχος Γερασηνός et chez Manlius Boethius », in Proceedings of ICONEA-2014: Arithmetical Subjectivism or Unconscious Knowlegde ?,
Richard J. Dumbrill (ed.), London, forthcoming: 2017: https://u-bordeaux3.academia.edu/IlloHumphrey/Papers
ILLO HUMPHREY, PH. D.-HDR - 6 -
• Lecture | Carolingian Liberal Arts & Humanities: pages 1-22 | IWA1-08 – 10:30 a.m. | 19-VII-2016 •
• Concert
a cappella
: PRE-“GREGORIAN & “GREGORIAN CHANT: pages 23-24 | IWA-Theatre 1 – 12:05 p.m. | 19-VII-2016
• Ollscoil Luimnigh / University of Limerick |mh Chruinne Éireann Rince agus Ceol / Irish World Academy of Music & Dance •
Figure 3
The R
RR
Regime of the Perfect Fifth(1):
ἡ δι
ὀξεῖα | ἡ διὰ πέντε [χορδῶν συμϕωνία] | « ἡμιόλια » | soit: 3 ÷ 2 = a p v 1
1.5 ) •
« ἡ σύνεχις ἐπιμόριος ἀναλογία ἐπιδεύτερα | continua proportio superparticularis sesqualtera »
= p v 2
3 = 1 to 1.5
• [Nota bene: The “Golden Cut”: 1 + the square root of 5 [¹
¹¹
¹= 2.236067978] ÷ 2 = a p v 1 to 1.618033989 = an augmented 5th] •
• Boethii De istitutione arithmetica II, 2 | Boethii De institutione musica II, 8
(0) (1) (2) (3) (4) (5) (6) (7) (8) (9) (10) (11)
(0) 1 2 4 8 16 32 64 128 256 512 1024 2048
(1) 3 6 12 24 48 96 192 384 768 1536 3072
(2) 9 18 36 72 144 288 576 1152 2304 4608
(3) 27 54 108 216 432 864 1728 3456 6912
(4) 81 162 324 648 1296 2592 5184 10368
(5) 243 486 972 1944 3888 7776 15552
(6) 729 1458 2916 5832 11664 23328
[7] [2187 4374 8748 17496 34992]
[8] [6561 13122 26244
52488]
(Nota bene: ἡ διὰ πέντε [χορδῶν συμϕωνία] • cf. Εὐκλείδης
Γέλας, ca. -275, Κατατομὴ κανόνος
11 = « τὸ διὰ πέντε »)
© Illo Humphrey | 2000
Algorithm of the R
RR
Regime of the Perfect Fifth
(The R
RR
Regime of the Perfect Fifth: 2
3 [a p v = 1
1.5])
a p v = v ÷
÷÷
÷ 2n i. inf.
= τὸ πλάτος
(latitudo)
p v = 2v
÷
÷÷
÷ 2v i. inf.
= τὸ μῆκος (longitudo)
p v = 2n x 3n
÷
÷÷
÷ 2n x 3n i. inf.
= τὸ βάθος
(profunditas)
[v = value a p v = absolute proportional value i. inf. = immediately inferior]
—————————————————
(1) Cf. Boethii
De institutione arithmetica
, II, 2: « De inueniendo in unoquoque numero quot numeros eiusdem proportionis possit præcedere eorumque descriptio
descriptionisque expositio », editions: G. Friedlein, p. 81: 22-27; J.-Y. Guillaumin, p. 82; I. Humphrey, 2007, f. 39:4-9; cf. Boethii De musica, II, 8: « Regulae quotlibet
continuas proportiones superparticulares inveniendi », edition : G. Friedlein, p. 234-237; C. Bower, Fundamentals of Music, p. 59; C. Meyer, 2004, p. 112-11; cf. Νικόμαχος
Γερασηνός, Ἀριθμητικὴ εἰσαγωγή Β: γ, β - Β: δ, γ [Nikómachos o Gerasinós, Pythagórikou arithmitikì Eisago], II, ch. 3, ¶2 à II, ch. 4 ¶3; éd. R. Hoche,
Leipzig, 1864, p. 77; cf.
R.I.S.M.
grec, ed. Mathiesen : n° 21, p. 57 = München, Bayerischer Staatsbibliothek, C.g.m. 301 (16th c., f. 1-32v); cf. aussi ms.
G
= Codex
Gottingensis, 10th c.; cf. E. G. McClain, The Pythagorean Plato. Prelude to the Song itself, York Beach Maine (USA), [ISBN 0-89254-010-9], 1978 & 1984, p. 63; Illo Humphrey, « Le
Régime de l'Octave: Principe fondamental de raisonnement arithmétique et musical chez Πλάτων, chez Νικόµαχος Γερασηνός et chez Manlius Boethius », in Proceedings of
ICONEA-2014: Arithmetical Subjectivism or Unconscious Knowlegde ?, Richard J. Dumbrill (ed.), London, 2017, forthcoming: https://u-
bordeaux3.academia.edu/IlloHumphrey/Papershttps://www.researchgate.net/profile/Illo_Humphrey/publications
Π – π = ἡ πρακτική, τῆς πρακτικῆς Θ – θ = ἡ θεωρητική, τῆς θεωρητικῆς
(cf. Boethii Consolatio Philosophiæ, I, Prosa, 1: ed. R. Peiper, p. 4 • Cassiodori Institutiones, II, III, 4: ed . R. Mynors, p. 110)
ILLO HUMPHREY, PH. D.-HDR - 7 -
• Lecture | Carolingian Liberal Arts & Humanities: pages 1-22 | IWA1-08 – 10:30 a.m. | 19-VII-2016 •
• Concert
a cappella
: PRE-“GREGORIAN & “GREGORIAN CHANT: pages 23-24 | IWA-Theatre 1 – 12:05 p.m. | 19-VII-2016
• Ollscoil Luimnigh / University of Limerick |mh Chruinne Éireann Rince agus Ceol / Irish World Academy of Music & Dance •
Figure 4
© Illo Humphrey | Ph. D. Dissertation | 2000
Nota bene:
The «
comma
», according to Boethius, is equal to:
(a) The difference between six whole tones and a perfect octave
(cf. Boethii
De institutione musica
III, 4),
(b) The difference between a major second (8 9) and two minor half-tones (243 256 x 2)
(cf. Boethii
De institutione musica
III, 8)
• © This Chart was conceived and written by lllo Humphrey on the 8th of April 2000 •
ILLO HUMPHREY, PH. D.-HDR - 8 -
• Lecture | Carolingian Liberal Arts & Humanities: pages 1-22 | IWA1-08 – 10:30 a.m. | 19-VII-2016 •
• Concert
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: PRE-“GREGORIAN & “GREGORIAN CHANT: pages 23-24 | IWA-Theatre 1 – 12:05 p.m. | 19-VII-2016
• Ollscoil Luimnigh / University of Limerick |mh Chruinne Éireann Rince agus Ceol / Irish World Academy of Music & Dance •
Hymnus-Psalmus pro gratiarum actione | Divinum Officium Vigilarum | Te Deum laudamus | Tonus sollemnis
• [¶2] THE PHILOSOPHY OF THE COGNITIVE PROCESS
• Vocabulary 1: (Greek: τῆς ψυχῆς γένεσις |ψυχογονία, -ας | Latin: Animae generatio | Mundi anima)
• Vocabulary 2: (Greek: τὸ αἰσθητήριον, -ου | Latin: sensuum perceptio | sensorium | sensus | sensum)
• Source 1: Πλάτωνος Τίμαιος ἢ περὶ Φύσεως π’ λε B - λϚ’ B
(Plátonos Tímaios ou à propos de la Nature §35B-§36B);
Νικόμαχος ὁ Γερασηνός Ἀριθμητικὴ εἰσαγωγή, Αʹ, Ϛʹ : αʹ γʹ
(Nikómachos o Gerasinós, Pythagórikou arithmitikì Eisagogí, I, 6, ¶1-¶3).
• Source 2: Boethii De institutione arithmetica II: 2 | Boethii De institutione musica I: 1
• Source 3: Illo Humphrey, Boethius De institutione arithmetica libri duo…, f. 38 : 20
• Source 4: Illo Humphrey, His Influence on the European Unity of Culture: from Alcuin of York (†804) to Thierry of Chartres (1154):
Nordhausen (Bautz), 20122, Ch. 2: “BOETHIUS and Amalarius Symphosius Metensis (*ca. 775-780 - ca. 850)”, p. 63, 67, Chapter
5: “Boethius and the Cognitive Process”, p. 91-100; cf. Boethii De institutione musica libri quinque I, 1; ed. G. Friedlein (1867), p. 184:
7-9, p. 183: 11 to p. 184:7; ed. C. M. Bower (1989), p. 5, 6; ed. C. Meyer (2004), p. 24-25, 26-27.
Boethius De musica I: 1 Omnium quidem perceptio sensuum ita sponte ac naturaliter quibusdam uiuentibus adest• ut sine
his animal non possit intellegi • Sed non aeque eorundem cognitio ac firma perceptio animi inuestigatione colligitur •
English: Indeed• the perception [by means of the faculties] of all the senses is to such an extent spontaneously and naturally
present in certain living beings, that without them [that is to say without the faculty of the senses] the human animal can in no
wise be understood But [it must be kept in mind that] it is not only [through] the cognitive [intellectual] process of
reasoning but indeed it is also through [the cognitive sensorial process that is to say] through the participation of the
faculty of the senses• [that] the mind acquires a solid perception [of things] by means of [true scientific and philosophical]
investigation •
Boethius De musica I: 1 Hinc etiam internosci potest• quod non frustra a platone dictum sit• Mundi animam musica
conuenientia fuisse coniunctam•
English: Hence• [given the fact that ars musica is so deeply rooted into the cognitio of the soul• the heart-mind• and in the
faculty of the sensesit may be recognized [and admitted by all as being true] that which was said• and rightly so• by [the
school of thought of] Plato that [the fundamental principle of • which governs the formation of musical sound• of the
musical interval• of] the musical consonanceis [intimately rooted into and] in [close] conjunction with the genesis [and
the structure] of the soul • “animae generatio • “mundi anima”: 1 2 3 4 9 8 27 243 256 ) •
• CONCLUSION: Dixit
Amalarius Symphosius Metensis (Amalarius of Metz, after 850), one of the last pupils of Alcuin
of York (804) at Saint-Martin de Tours, in his Liber Officialis, III, 11: 15-16 [Illo Humphrey, Boethius, 2012, Ch. 2: p.61-69]:
“Musica habet quandam naturalem uim ad flectendum animum• sicut Boetius in suo libro scribit, quem de musica fecit•
‘Vulgatum quippe est quam saepe iracundias cantilena represserit• quam multa uel in corporum• uel in animorum affectionibus miranda perfecerit’;…”
“Certain music has the natural power to move the spirit, as wrote Boethius rightly so in his book which he wrote on ars musica:
[Boethii De musica I: 1]: It is common knowledge that a simple musical melody can often calm anger spells, and can work miracles in a variety of
manners, both in the ailments of the body as well those of the mind ’ ”. This passage in found just after the Lacedemonian decree in Greek.
Π – π = ἡ πρακτική, τῆς πρακτικῆς Θ – θ = ἡ θεωρητική, τῆς θεωρητικῆς
(cf. Boethii Consolatio Philosophiæ, I, Prosa, 1: ed. R. Peiper, p. 4 • Cassiodori Institutiones, II, III, 4: ed . R. Mynors, p. 110)
ILLO HUMPHREY, PH. D.-HDR - 9 -
• Lecture | Carolingian Liberal Arts & Humanities: pages 1-22 | IWA1-08 – 10:30 a.m. | 19-VII-2016 •
• Concert
a cappella
: PRE-“GREGORIAN & “GREGORIAN CHANT: pages 23-24 | IWA-Theatre 1 – 12:05 p.m. | 19-VII-2016
• Ollscoil Luimnigh / University of Limerick |mh Chruinne Éireann Rince agus Ceol / Irish World Academy of Music & Dance •
• [¶3] Proto-Philology | Latin Stenography | Notae sententiarum (Isidorus Etym. I:21): a newecdotiqueApproach
Boethii De institutione arithmetica libri duo
(SOURCE 1) Paris, BnF, Fonds latin 14064 [Corbie (?)], 9th c. 1st half, f. 2: 1-18 (Glosses in Latin Stenography) •
(SOURCE 2) Paris, BnF, Fonds latin 7183 [Saint-Denis-en-France (?)], 9th c. 1st half, f. 2v: 4-25 (Glosses in Latin Stenography) •
(SOURCE 3) Paris, BnF, Fonds latin 13009 [Corbie (?)], 9th c. 1st half, f. 1v: 11-24 (Glosses in Latin clear text) •
(SOURCE 4) Paris, BnF, Fonds n.a.l. 1614 [Saint-Martin de Tours (?)], 9th c. 1st half, f. 2: 1-17 (Glosses in Latin clear text) •
(SOURCE 5) Paris, BnF, Fonds latin 6639 [Origin uncertain], 9th c. middle, f. 71(74): 10-20 à 71v (74v): 1-4 (Glosses in Latin clear text) •
• Prohœmium | Paris, BnF, Fonds latin 14064 | [Corbie (?)], 9th c. 1st half | Libellus 1 | f. 2: 1-18 •
fac-tum
prouenerit ut fac-ere poss-emus
ς
ςς
ςʀʀʀʀ
[1] constiterit• facile sobrius lector agnoscet ; Cum igitur quattuor
idest disciplinalium
ς
ςς
ς
ʀʀʀʀ idest disciplinalis
et est geneti-uus graecus plu-ris [sic][2] matheseos disciplinarum de arithmetica quae est prima perscri
et nullus alius idest tanto magis et tantummodo uide-bare tu sol-us dign-us
[3] berem • tu tantum dignus eo munere uidebare ; Eoque ma hoc mune-re · tantummodo intellege-bam hoc opus [////]
sin-e err-ore
sin-e err-ore
[4] gis inerrato opus esse intellegebam ; Nam etsi apud te facilis
cens[?]-en-do dix-it ips-ius ueni-ae
[5] ueniae locus esset • aliquando tamen ipsam formidabat facilitatem
sperans potes-tate
[6] suspecta securitas ;
;;
; Arbitrabar enim nihil tantae reue
. . offer-re . . uel oblatu iri[sic] · idest offer-ri uel offer-en-dum
[7] rentiae oblatum iri oportere • quod non elaboratum ingenio •
[8] perfectum studio• dignum postremo tanto otio uideretur ; Quia magn-um oti-um hab-u-it ad hoc opus faci-en-dum
per et in[?] quo[?] [-?-]
ut non idest quam hab-es erga me
[9] N
NN
Non igitur ambigo quin pro tua in me beniuolentia superuacua
recidas desider-amini intellegen-ti cens[?]-u honora-te oportune
[10] resces • hiantia
.
..
.
suppleas • errata reprehendas• commode
.
..
.
antequam uerbum perfici-amus hiamus
[M2] { : mira} [M1] idest beneuol-entia
[11] dicta • : animi alacritate suscipias ; Quae. res impulit pigram
mei subaud-it hunc librum conpon-ere autem dilata[?]-tione nimi-am laetici-am is-ta tibi
[12] consilii moram • Nimios enim mihi fructus placitura restituent ;
[13] N
NN
Noui quippe quanto studiosius nostra quam ceterorum bona diligamus ; Quia me-um bon-um tu-um es · et tu-um me-um
quia ego filius tu-us et pater me-us tu ·
subaud-it qui transmitt-it maturos · flauore auri inductas spicas
[14] R
RR
Recte ergo quasi aureos cereri culmos• et maturos baccho
prouuis ini-cia nouella
[15] palmites • sic ad te noui operis rudimenta transmisi ;
;;
; Tu
pater-no affec-tu exaltes opus istud idest prouehendo
[16] tantum paterna gratia nostrum prouehas munus • ita et laboris
[17] mei primitias • doctissimo iudicio consecrabis ; Et non maio
iudica-bitur idest ego idest tu
[18] re censebitur auctor merito • quam probator ; non magis mihi adproba-bitur quam tibi
• CONCLUSION: Dixit Illo [Boethius De institutione arithmetica, 2007, f. 2: 1-18]
“This new proto-philological approach allowed me to show clearly that
these annotations constitute a primitive layer of glosses transmitted simultaneously with the principal text of the De institutione arithmetica libri duo,
and that the « auctor », that is to say Boethius (ca. 524) addressing himself to the « probator », that is to say his father-in-law Quintus
Aurelius Memmius Symmachus (ca. 526), either annotated the said glosses himself, or that he dictated them to a notarius-exceptor, and this
in the first quarter of the 6th century”
Π – π = ἡ πρακτική, τῆς πρακτικῆς Θ – θ = ἡ θεωρητική, τῆς θεωρητικῆς
(cf. Boethii Consolatio Philosophiæ, I, Prosa, 1: ed. R. Peiper, p. 4 • Cassiodori Institutiones, II, III, 4: ed . R. Mynors, p. 110)
ILLO HUMPHREY, PH. D.-HDR - 10 -
• Lecture | Carolingian Liberal Arts & Humanities: pages 1-22 | IWA1-08 – 10:30 a.m. | 19-VII-2016 •
• Concert
a cappella
: PRE-“GREGORIAN & “GREGORIAN CHANT: pages 23-24 | IWA-Theatre 1 – 12:05 p.m. | 19-VII-2016
• Ollscoil Luimnigh / University of Limerick |mh Chruinne Éireann Rince agus Ceol / Irish World Academy of Music & Dance •
Figure 5
LATIN STENOGRAPHY (Tironian Notes) | CRITICAL GLOSSARY | BIBLIOGRAPHY
© Illo Humphrey | Paris | 2004
Glossary of Latin Stenography based on the glosses conserved in Paris, BnF, Fonds latin:
14064 (9th c.), f. 2r°: 13, 18; and 7183 (9th c.), f. 2v°: 18-19, 24-25; Illo Humphrey, Boethii
De institutione arithmetica libri duo…, Ottawa, 2007, p. 26, 98, 206-230; Illo Humphrey, His
Influence on the European Unity of Culture: from Alcuin of York (804) to Thierry of Chartres
(1154): Nordhausen (Bautz), 20122, Introduction, p. 15
SIGLA:
CC = Codex Cassellanus: Kassel, Gesamthochschule, 2° Ms. Philol. 2 (a. D. 799)
WCG = Wolfenbüttel, Herzog August Bibliothek, 9, 8 Aug. 4° (a. D. 850-860)
CNT = Schmitz (Wilhelm), Commentarium notarum tironianarum, 1893, Vol. 2
K-2 = Kopp (Ulrich), Paleographia Critica, 1817-1829, Vol. 2
14064 = Paris, BnF, Fonds latin 14064 (9th entury, in., Corbie [?])
7183 = Paris, BnF, Fonds latin 7183 (9th century, in., Saint-Denis-en-France)
(md) = marge de droite (right margin)
(mg) = marge de gauche (left margin)
ILLO HUMPHREY, PH. D.-HDR - 11 -
• Lecture | Carolingian Liberal Arts & Humanities: pages 1-22 | IWA1-08 – 10:30 a.m. | 19-VII-2016 •
• Concert
a cappella
: PRE-“GREGORIAN & “GREGORIAN CHANT: pages 23-24 | IWA-Theatre 1 – 12:05 p.m. | 19-VII-2016
• Ollscoil Luimnigh / University of Limerick |mh Chruinne Éireann Rince agus Ceol / Irish World Academy of Music & Dance •
• Figure 6-a •
Paris, Bibliothèque nationale de France, Fonds latin 14064, 9th c.
Boethii De institutione arithmetica libri duo (Text & Glosses)
Notae sententiarum | Cross-Reference & Annotation Signs
Nota bene: M1 M2 = Hand 1 & Hand 2 | mg = left margin | m-sup = upper margin
Col. : 1 2 3 4 5 6
Script : Nom : Folio : Line : Text • Gloss : Hand :
1. •/ obelus ou virga 1 : 8 text - gloss M1 M2
(Etym. I : XXI, 4)
2.
••
••••
••
quidem
1 : 13 text - gloss M1 M2
(n.t.
EC p. 40)
3. [ψʸʸʸʸ] calc2 [?] (rune) 1 : 21 text - gloss M1
alvus [?] alvulus [?] alvescit [?]
(n.t. .
CC 145-b : 1-3 • CNT 119 : 16-18 • K-2 p. 21-b : 6-8 )
4.
ex [?] 1 : 23 text - gloss M1
(n.t.
C NT 1 : 7)
5.
:.
:.:.
:.
trigon4
1 v° : 5 text - gloss M1 M2
(neume)
6. :
::
:
-im
1 v° : 10 texte - glose M1 M2
(n.t.
C NT 15 : 61)
7. υʜʜʜʜ
cryphía3
1 v° : 12, 13 text - gloss M1
(Etym. I : XXI, 10)
8.
ς
ςς
ςʀʀʀʀ
super
2 : 1 text - gloss M1
(n.t.
C NT 1 : 38)
9.
•.
•.•.
•.
-mum
2 : 10 text - gloss M1
(n.t.
K-2 p. 410)
10.
ς
ςς
ς
sigma
2 : 24 text - gloss M1 M2
11.
obelus3 [?]
2 v° : 5 text - gloss M1
(Etym. I : XXI, 4)
12. [
] nos 2v° :(m-sup) 5 text - gloss M1
(n.t.
C NT 17 : 78)
13.
auersa1 [?]
2 v° : 4 text - gloss M1
(Etym. I : XXI, 17)
14. x 2 v° : 5 text - gloss M1
15. [ϕ
ϕϕ
ϕ] uo- 2 v° : 5 text - gloss M1
(n.t.
C NT 32 : 32)
16.
· cryphía3 2 v° : 13 text - gloss M1 M2
(Etym. I : XXI, 10)
17.
:
::
:
-mam
2 v° : 21 text - gloss M1
(n.t.
K-2 p. 410)
18. ·
· cryphía3 2 v° : 22 text - gloss M1
(Etym. I : XXI, 10)
19. ·
/
//
/
. limniscus3 [?] 2 v° : 26 text - gloss M1
(Etym. I : XXI, 5)
ILLO HUMPHREY, PH. D.-HDR - 12 -
• Lecture | Carolingian Liberal Arts & Humanities: pages 1-22 | IWA1-08 – 10:30 a.m. | 19-VII-2016 •
• Concert
a cappella
: PRE-“GREGORIAN & “GREGORIAN CHANT: pages 23-24 | IWA-Theatre 1 – 12:05 p.m. | 19-VII-2016
• Ollscoil Luimnigh / University of Limerick |mh Chruinne Éireann Rince agus Ceol / Irish World Academy of Music & Dance •
• Figure 6-b •
Paris, Bibliothèque nationale de France, Fonds latin 14064, 9th c.
Boethii De institutione arithmetica libri duo (Text & Glosses)
Notae sententiarum | Cross-Reference & Annotation Signs
Col. : 1 2 3 4 5 6
Script : Nom : Folio : Line : Text • Gloss : Hand :
20. ·|· limniscus3 3 v° : 21 text - gloss M1
(Etym. I : XXI, 5)
21. [·?·] antisigma3 4 v° : 21 text - gloss M1
(Etym. I : XXI, 11)
22.
asteriscus3
5 v° : 1 text - gloss M1
(Etym. I : XXI, 2)
23.
[
[[
[
ɉ
ɉ ɉ
ɉ
]
]]
]
antisigma3
7 : 22(mg) text - gloss M1
(Etym. I : XXI, 11)
24. .
ς
ςς
ς
. sigma 11 v° : 8 text - gloss M1
25. punctum4 16 v° : 25 text - gloss M1 M2
(neume)
26.
ɽ
ɽ ɽ
ɽ cryphía3 26 v° : 10 text - gloss M1 M2
(Etym. I : XXI, 10)
27. ψ calc2 [?] 27 v° : 23 text - gloss M1
(rune, ou Ψ
ΨΨ
Ψ grec)
28. [
ϒ
ϒϒ
ϒɺɺɺɺ
]
antigraphus3 30v° : 12 text M1
29.
[
[ [
[
ʀʀʀʀɉ
ɉ ɉ
ɉ
]
]]
]
antisigma3 37 : 19 text - glos M1
(Etym. I : XXI, 12)
30. [٪ς
ςς
ς] uersus 38 : 19 text - glos M1
(n.t.
C NT 28 : 4)
31. [
⁄⁄
·] co- 38 : 21 text - gloss M1
(n.t.
CNT 22 : 18)
32. · obelus ou virga 38v° : 24 text - gloss M1
(Etym. I : XXI, 4)
33.
lamda 39 : 17 text - gloss M1
lamda pointé 76 : 20 text - gloss M1
34.
diplí1
39 : 22 text - gloss M1
(Etym. I : XXI, 13)
35.
obelus
ou virga 39v° : 24 text - gloss M1
(Etym. I : XXI, 4)
36.
ʀʩʩʩʨɻɷʨʀʩʩʩʨɻɷʨʀʩʩʩʨɻɷʨʀʩʩʩʨɻɷʨ
ueritates
42 : 13 text - gloss M1
(n.t.
CC 21v°)
37. ψ. calc2 [?] 44v° : 12 text - gloss M2
(rune, ou Ψ
Ψ Ψ
Ψ grec)
38. ·⁄⁄ bi-obelus [?] 50 : 5 text - gloss M1
ou bi-virga[?]
ILLO HUMPHREY, PH. D.-HDR - 13 -
• Lecture | Carolingian Liberal Arts & Humanities: pages 1-22 | IWA1-08 – 10:30 a.m. | 19-VII-2016 •
• Concert
a cappella
: PRE-“GREGORIAN & “GREGORIAN CHANT: pages 23-24 | IWA-Theatre 1 – 12:05 p.m. | 19-VII-2016
• Ollscoil Luimnigh / University of Limerick |mh Chruinne Éireann Rince agus Ceol / Irish World Academy of Music & Dance •
• Figure 6-c •
Paris, Bibliothèque nationale de France, Fonds latin 14064, 9th c.
Boethii De institutione arithmetica libri duo (Text & Glosses)
Notae sententiarum | Cross-Reference & Annotation Signs
Col. : 1 2 3 4 5 6
Script : Nom : Folio : Line : Text • Gloss : Hand :
39. ·
· cryphía (?) 51 v° : 8 text - gloss M1
[inferior]
40.
[ׂ
ׂ ׂ
ׂ c
⁄⁄
] -tatibus 56 : 14 text - gloss M1
(n.t.
CNT 15 : 40)
41.
delta 56 : 20 text - gloss M1
42. :: [?] 62 v° : 16 text - gloss M1
43. tristropha [?] 70 : 4 text - gloss M1
(neume)
44.
climacus [?] 70 : 6 text - gloss M1
(neume)
45.
∧⁄⁄⁄
porrectus [?] 71 : 9 text - gloss M1
(neume)
46.
cryphía3
71 : 10 text - gloss M1
(Etym. I : XXI, 10)
47. .
ʽ
ʽʽ
ʽ
. subdistinctio [?] 76 v° : 18 text - gloss M2
(pause brève)
48. [
⁄⁄
] co- 76 v° : 24 text - gloss M2
(n.t.
CNT 22 : 18)
49.
cryphía3
77 : 4 text - gloss M2
(Etym. I : XXI, 10)
50. [\
\\
\
ʫʀʫʀʫʀʫʀ]
quippe 77 : 4 text - gloss M2
(n.t.
CNT 3 : 82)
51. ·: trigon4 77 : 19 text - gloss M1
(neume)
52. [c·] cryphía (?)
82v° : 16 text - gloss M2
____________________________________________________________________________
• ISIDORI HISPALENSIS EPISCOPI, (Isidore de Séville, Carthagène vers 560, archevêque de Séville en 601, mort en
636) Etymologiarum, Liber I, caput XXI : De notis sententiarum, cf. ed. J.-P. Migne, Patrologia latina, Paris,
1859, tome 82, col. 96-98
HUMPHREY (Illo), “Boethii De institutione arithmetica libri duo: Étude proto-philologique”, in Carmina Philosophiae
Volume 14, 2005, ©International Boethius Society, ISSN#1075-4407, p. 57-158, cf. Proto-philological Study of the
Notae sententiarum, pages 111-121: https://u-bordeaux3.academia.edu/IlloHumphrey/Papers
https://www.researchgate.net/profile/Illo_Humphrey/publications
HUMPHREY (ILLO), ed. Boethius De institutione arithmetica libri duo. Édition proto-philologique intégrale princeps d’un manuscrit
du IXe siècle (Paris, Bibliothèque nationale de France, Fonds latin 14064), texte, gloses, notes tironiennes, signes de renvoi, Institute of
Medieval Music, Vol. LXXXVI, Ottawa, ISBN: 978-1-896926-90-2, 2007, p. 231-237: https://u-
bordeaux3.academia.edu/IlloHumphrey/Bookshttps://www.researchgate.net/profile/Illo_Humphrey/publications
STEINOVÁ (Evina), Notam superponere studui: the use oftechnical signs in the Carolingian period, September 9th, 2014,
https://www.academia.edu/23731590/Notam_superponere_studui_The_use_of_technical_signs_in_the_early_Mid
dle_Ages_English_summary https://knaw.academia.edu/EvaSteinov%C3%A1 Ph. D. Dissertation Summary
ILLO HUMPHREY, PH. D.-HDR - 14 -
• Lecture | Carolingian Liberal Arts & Humanities: pages 1-22 | IWA1-08 – 10:30 a.m. | 19-VII-2016 •
• Concert
a cappella
: PRE-“GREGORIAN & “GREGORIAN CHANT: pages 23-24 | IWA-Theatre 1 – 12:05 p.m. | 19-VII-2016
• Ollscoil Luimnigh / University of Limerick |mh Chruinne Éireann Rince agus Ceol / Irish World Academy of Music & Dance •
Hymnus-Psalmus pro gratiarum actione | Divinum Officium Vigilarum | Te Deum laudamus | Tonus sollemnis
• [¶4] TRANSITION FROM ORAL MUSICAL TRADITION TO WRITTEN MUSICAL TRADITION
AURELIANUS REOMENSIS MUSICA DISCIPLINA [CAPITULA XX]
The Musica disciplina [capitula XX] of Aurelianus Reomensis, written approximately between the year 840 et 880. This work is the first known
major 9th-century independent Carolingian treatise on ars musica. As can be expected, this treatise is strongly influnced by the Boethii De
institutione musica, and also, to a lesser degree, by the Boethii De institutione arithmetica. In contrast however to the De musica of Boethius, the
author introduces four musical examples taken from the still oral tradition of the “Gregorian” Chant repertoire. The four musical examples
are inserted into the text in order to illustrate with precision the basic consonances and intervals about which Boethius writes in his De musica
I, 10, namely: the perfect octave (“diapason in duplo concinentiam”), the perfect fourth (“diatesseron consonantia”), the perfect fifth (“diapente consonantiam
permiscebant”), the perfect whole tone or major second (“in sesquioctaua proportione resonabant tonum”). These musical examples, taken from four Introit
anthems of the Proper Mass of the liturgical year, were universally-known by all, and were therefore ideal pedagogical tools for explaining
acoustically the formation of musical consonances and intervals. These four musical examples, listed here in their musicological, liturgical,
biblical, and hagiographical context, are as follows:
MUSICAL EXAMPLE 1:
Inclina domine
[
aurem tuam
]”: “Incline, O Lord, thine ear unto me”, Introit anthem, 1st mode, protus
authenticus, Psalm 85 (Vulgate Bible): 1-4.
BIBLIOGRAPHY: Dom René-Jean Hesbert, Antiphonale Missarum sextuplex, Brussels (Vromant & Cie.), 1935, 187, Manuscripts: λ
λλ
λBλ
λλ
λKS;
Missale romanum, ex decreto ss. Concilii Tridentini restitutum summorum pontificum cura recognitum, Ratisbonae [Regensburg, Germany], 1964, p. 314:
Hebdomada XV post Pentecosten [15th Week after Pentecoste]; Graduale triplex, seu Graduale romanum
Pauli pp. VI cura recognitum & rhythmicis
signis a Solesmensibus monachis ornatum neumis laudunensibus (codicis 239) et sangallensibus (codicum Sangallensis
359 et Einsidlensis 121) nunc auctum,
Solesmes, 1979, p. 326. This musical example illustrates the consonance of “diapason in duplo concinentiam”, i. e. the PERFECT OCTAVE
MUSICAL EXAMPLE 2:
Confessio et pulchritudo
: Acknowledgement and beauty”, Introit anthem, 3rd mode, deuterus authenticus,
Psalm 95 (Vulgate Bible): 6, 1.
BIBLIOGRAPHY: Dom René-Jean Hesbert, Antiphonale Missarum sextuplex, n° 44, Manuscripts: BCKS; Missale romanum, p. 77 / p. 676 10
Augusti festo s. Laurenti, diaconi et martyris [August 10, Feast of Saint Lawrence, deacon and martyr]); Graduale triplex, p. 586. This musical
example illustrates the consonance of “diatesseron consonantia”, i. e. the PERFECT FOURTH
MUSICAL EXAMPLE 3:
Circumdederunt
[
me gemitus mortis
]”: “The pangs of death encompassed me round about”, Introit anthem, 5th
mode, tritus authenticus, Psalm 17 (Vulgate Bible): 5, 2, 3.
BIBLIOGRAPHY: Dom René-Jean Hesbert, Antiphonale Missarum sextuplex, n° 34, Manuscripts: RBCKS; Missale romanum, p. 54 Dominica
in Septuagesima [Sunday, the 70th Day before Easter]; Graduale triplex, p. 117. This musical example illustrates the emmelis in sesquioctaua
proportione resonabant tonum”, i. e. PERFECT WHOLE TONE or MAJOR SECOND
MUSICAL EXAMPLE 4:
Puer natus est
[
nobis
]”: “For unto us a child is born”, Introit anthem of the Christmas Day Mass (7th mode,
tetrardus authenticus) | Isaiah 9: 6, verse: Psalm 97 (Vulgate Bible): 1.
BIBLIOGRAPHY: René-Jean Hesbert, Antiphonale Missarum sextuplex, n° 11-a, Manuscripts: RBCKS; Missale romanum, p. 23 In Die
Nativitatis Domini [Christmas Day], Graduale triplex, p. 47 (Ad Missam in die = The Mass of the day). This musical example illustrates the
consonance of “diapente consonantiam permiscebant”, i. e. PERFECT FIFTH
CONCLUSION: Dixit Illo [Boethius, 2012, Ch. 6: p.113-117]
The Musica Disciplina of Aurelianus Reomensis, a milestone in the new
Carolingian branch of general culture, marks a turning point in the slow and laborious transition of the scientific-philosophical Tradition of
Knowledge. This treatise on the philosophy of Music, all while remaining faithful to the basic Boethian theory of ars musica, distinguishes itself
from the said by introducing musical examples taken directly from the Carolingian liturgical musical practices known to all, indicating thus a
definitive cultural and pedagogical shift from the very theoretical ars musica of Greco-Roman Antiquity to a more practical ars musica of the
European Post-Roman period”
Π – π = ἡ πρακτική, τῆς πρακτικῆς Θ – θ = ἡ θεωρητική, τῆς θεωρητικῆς
(cf. Boethii Consolatio Philosophiæ, I, Prosa, 1: ed. R. Peiper, p. 4 • Cassiodori Institutiones, II, III, 4: ed . R. Mynors, p. 110)
ILLO HUMPHREY, PH. D.-HDR - 15 -
• Lecture | Carolingian Liberal Arts & Humanities: pages 1-22 | IWA1-08 – 10:30 a.m. | 19-VII-2016 •
• Concert
a cappella
: PRE-“GREGORIAN & “GREGORIAN CHANT: pages 23-24 | IWA-Theatre 1 – 12:05 p.m. | 19-VII-2016
• Ollscoil Luimnigh / University of Limerick |mh Chruinne Éireann Rince agus Ceol / Irish World Academy of Music & Dance •
• Nota bene (1) •
About the Sigla M-R-B-C-K-S-λ
The sigla M-R-B-C-K-S, along with the Greek letter lambda (λ), represent the six oldest
known codices containing the repertoire of the Proper “Gregorian” Mass for the entire
liturgical year
M represents the Cantatorium of Monza [Lombardia 20052 Italy] (second third of the 9th
century: Tesoro del Duomo di Monza | Codex CIX) •
R represents the Gradual of Rheinau [Zürich 8462 Switzerland] (around the year 800: CH-
Zentralbibliothek Zürich | Rheinau Codex 30) •
B represents the Gradual of Mont-Blandin [East Flanders 9000 Ghent, Belgium] (8th-9th
c.: Bruxelles, Bibliothèque Royale Albert 1er Codex latin 10127-44) •
C represents the Gradual of Compiègne [Oise 60200 France] (second half of the 9th
century: Paris, Bibliothèque nationale de France, Fonds latin 17436) •
K represents the Gradual of Corbie [Somme | 80800 | France] (after 853: Paris,
Bibliothèque nationale de France, Fonds latin 12050) •
S represents the Sacramentary-Gradual of Senlis [Oise | 60300 | France] (ca. 880: Paris,
Bibliothèque Sainte-Geneviève, Codex 111) •
λ (lambda) indicates lacunae in one or more of the six collated manuscripts •
The above sigla are based on the research of the Abbey Saint-Pierre of Solesmes (72300
Sablé-sur-Sarthe, France), see Dom René-Jean Hesbert, Antiphonale Missarum Sextuplex,
Bruxelles, 1935; these sigla are also indicated in the Graduale triplex: Avant-
Propos~Vorwort~Forward, Solesmes, 1979
Nota bene: It is useful to know that these six collated manuscripts M-R-B-C-K-S contain
only the literary texts of the Proper “Gregorian” Mass, that is to say they do not contain any
neumatic musical notation. The oldest known musical notations are attested, so it seems, in
the second half of the 9th century; see, for example, Laon, Bibliothèque municipale, manuscrit
239, 9th century, a Gradual with neumatic notation of Laon; see facsimile in Paléographie
musicale, 1st Series, Volume 10, Antiphonale missarum Sancti Gregorii, Tournai, 1909,
Solesmes, 1992
BIBLIOGRAPHY | AURELIANUS REOMENSIS
Musica disciplina
[
CAPITULA
XX
]:
Valenciennes (France-59300), Bibliothèque municipale 148 (olim 133), end of 9th c., f. 57v
Martin Gerbert Freiherr von Hornau, 1720-1793, (ed.), Scriptores ecclesiastici de musica sacra potissimum ex
variis italiae, galliae et germaniae codicibus manuscriptis collecti et nunc primum publica luce donati a Martino Gerberto,
monasterii et congregationis, Sancti Blasii in Silvia Nigra Abbate, S.Q.R.I.P., 3 Volumes, Typis San-Blasianis,
1784, 402 pages | reprints: Graecii, Styria, 1905 | Milano (Bolletino Bibliographico Musicale), 1931 |
Hildesheim (Olms), 1963, 1990, see Vol. I, p. 31-a and 31-b:
https://books.google.ie/books?id=DQcVAAAAQAAJ&printsec=frontcover&hl=fr&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false
Lawrence A. Gushee (ed.), Aureliani Reomensis Musica disciplina, Yale, 1962 = (CSM 21, 1975)
Jane Bellingham, The Development of musical Thought in the medieval West from late Antiquity to the Mid-ninth
Century, Christ Church, University of Oxford, D.Phil. Thesis, submitted Trinity Term, 1998, cf. ch. VI :
Aurelian of Réôme and the Musica Disciplina, p. 197-229; Thesaurus Musicarum Latinarum:
http://www.music.indiana.edu/tml/9th-11th/AURMUS_TEXT.html
Peter Jeffery (ed.), The Study of Medieval Chant: Paths and Bridges, East and West. In Honor of Kenneth Levy,
Cambridge (Boydell Press), 2001, cf. Peter Jeffery, Chapter 6: “The earliest Oktôéchoi. The Role of
Jerusalem and Palestine in the beginnings of modal ordering. Mode and melos”, pages 147-210, see pages
167-169
Illo Humphrey, Boethius. His Influence on the European Unity of Culture: from Alcuin of York (804) to Thierry
of Chartres (1154), Nordhausen, Deutschland (Bautz Verlag), 2nd ed. 2012, Chapter 6: “Boethius and
Aurelianus Reomensis (840-850)”, pages 113-117 | https://u-bordeaux3.academia.edu/IlloHumphrey/Books
https://www.researchgate.net/profile/Illo_Humphrey/publications
ILLO HUMPHREY, PH. D.-HDR - 16 -
• Lecture | Carolingian Liberal Arts & Humanities: pages 1-22 | IWA1-08 – 10:30 a.m. | 19-VII-2016 •
• Concert
a cappella
: PRE-“GREGORIAN & “GREGORIAN CHANT: pages 23-24 | IWA-Theatre 1 – 12:05 p.m. | 19-VII-2016
• Ollscoil Luimnigh / University of Limerick |mh Chruinne Éireann Rince agus Ceol / Irish World Academy of Music & Dance •
Figure 7
Musical Example 1-a
• Hymnus-Psalmus pro gratiarum actione | Divinum Officium Vigilarum | Te Deum laudamus | Tonus sollemnis
(Cf. Graduale Triplex, Solesmes, 1979, p. 838)
ILLO HUMPHREY, PH. D.-HDR - 17 -
• Lecture | Carolingian Liberal Arts & Humanities: pages 1-22 | IWA1-08 – 10:30 a.m. | 19-VII-2016 •
• Concert
a cappella
: PRE-“GREGORIAN & “GREGORIAN CHANT: pages 23-24 | IWA-Theatre 1 – 12:05 p.m. | 19-VII-2016
• Ollscoil Luimnigh / University of Limerick |mh Chruinne Éireann Rince agus Ceol / Irish World Academy of Music & Dance •
Musical Example 1-b
• Hymnus-Psalmus pro gratiarum actione | Divinum Officium Vigilarum | Te Deum laudamus | Tonus sollemnis
(Cf. Graduale Triplex, Solesmes, 1979, p. 839)
ILLO HUMPHREY, PH. D.-HDR - 18 -
• Lecture | Carolingian Liberal Arts & Humanities: pages 1-22 | IWA1-08 – 10:30 a.m. | 19-VII-2016 •
• Concert
a cappella
: PRE-“GREGORIAN & “GREGORIAN CHANT: pages 23-24 | IWA-Theatre 1 – 12:05 p.m. | 19-VII-2016
• Ollscoil Luimnigh / University of Limerick |mh Chruinne Éireann Rince agus Ceol / Irish World Academy of Music & Dance •
Musical Example 1-c
• Hymnus-Psalmus pro gratiarum actione | Divinum Officium Vigilarum | Te Deum laudamus | Tonus sollemnis
(Cf. Graduale Triplex, Solesmes, 1979, p. 840-841)
HUMPHREY (Illo), « Le cantus firmus et la mélodie du ‘Te Deum laudamus’ dans un fragment du ms.
Cambridge, Gonville et Caius College, 334.727 (XIVe s. début) », in Itinéraires du Cantus Firmus VII. Le Cantus
firmus Hymnologique, Lexicographique, et Pégagogique, Édith Weber (ed.), Paris (Presses de l’Universitaire Paris-
Sorbonne), septembre 2004, p. 21-34: https://u-bordeaux3.academia.edu/IlloHumphrey/Talks
https://www.researchgate.net/profile/Illo_Humphrey/publications
ILLO HUMPHREY, PH. D.-HDR - 19 -
• Lecture | Carolingian Liberal Arts & Humanities: pages 1-22 | IWA1-08 – 10:30 a.m. | 19-VII-2016 •
• Concert
a cappella
: PRE-“GREGORIAN & “GREGORIAN CHANT: pages 23-24 | IWA-Theatre 1 – 12:05 p.m. | 19-VII-2016
• Ollscoil Luimnigh / University of Limerick |mh Chruinne Éireann Rince agus Ceol / Irish World Academy of Music & Dance •
• Nota bene (2) •
On the Hymn-Psalm Te Deum laudamus
• [¶1] The Te Deum laudamus is an anonymous pre-“Gregorian” Latin Hymn-Psalm, composed at the end of the 4th century, and which may very well prove to
be of Irish origin. It is a doxology chant (chant of praise) sung « in directum », that is to say from beginning to end without refrain, just as monastic psalmody.
According to the Rule of St. Benedict of Nursia (6th c., 2nd half), the Te Deum laudamus is sung at the end of the Office of the Vigils (Matins); cf. A. de Vogüé, J.
Neufville, La Règle de saint Benoît, édition critique, Paris (Éditions du Cerf), 1972, Vol. 2, Ch. XI, p. 514-516. In the modern Benedictine practice, the Te Deum is
sung every Sunday, and on most of the feast days in the liturgical year, at the end of the 3rd and last Nocturnal Lesson of the Office of Matins. The Te Deum
laudamus has 29 verses, the first 23 of which are the oldest; it should be noted however, that the last 6 verses were added between the 5th and the 6th century. The
theology of the 29 verses of the
Te Deum laudamus reinforce the doctrine of the Holy Trinity and are divided into 3 distinct sections, namely, SECTION 1: Praise
to the Father (verses 1-13) • SECTION 2: Praise to the Son & Holy Spirit (verses 14-23) • SECTION 3: Day by Day Perpetual Praise (verses 24-29)
• [¶2] The very first testimonies attesting to the existence of the Latin Hymn-Psalm Te Deum laudamus are found, as should be expected, in monastic Rules,
namely in the monastic Rule of Saint Cesar of Arles (*Chalon-sur-Saône, ca. 470 - Arles, ca. 543): « Perfectis missis dicite matutinos directaneo : Exaltabo te, Deus meus
et rex meus, deinde, Confitemini, inde cantemus Domino. Lauda anima mea Dominum. Benedictionem. Laudate Dominum de caelis. Te Deum laudamus. Gloria in excelsis Deo, et
capitellam omni dominica sic dicatur. », cf. ed J.-P. Migne, Patrologia latina, t. LXVII, col. 1102, n° XX, XXI, then in the monastic Rule of Saint Benedict of Nursia: «
Qualiter diebus dominicis vigiliae agantur : Post quartum autem responsorium incipiat abbas hymnum Te Deum laudamus quo perdicto legat abbas lectionem de evangelia, cum honore et
stantibus omnibus, qua perlecta, respondeant omnes AMEN, et subsequenter mox abbas hymnum Te decet laus, et data benedictione incipiant matutinos. ». Nota bene: The
traditional vital statistics of Saint Benedict are *480 - 547, however, according to Rochais and Manning, the vital statistics of Saint Benedict are: *Norcia,
Perugia, ca. 520 - Monte Cassino ca. 575; cf. Dom H. Rochais, Dom E. Manning, Règle de saint Benoît, Rochefort (Belgium), 1980, p. XXVII
(a) Next, we have Saint Cyprian, Bishop of Toulon (549), who writes in a letter addressed to Maxime, Bishop of Geneva from 524 to 533 : « Sed in
hymno quem omnes ecclesia toto orbe receptum canit cottidie dicemus : ‘Tu es rex gloriae, Christus. Tu Patris sempiternus es Filius’. Et consequenter subiungit : Tu ad liberandum
supcepturus hominem, non orruisti virginis uterum. Te ergo quaesumus, tuis fammulis subveni, quos praetioso sanguine redemisit. » •
(b) The oldest known source which transmits the literary text of the Latin Hymn-Psalm Te Deum laudamus in its almost entirety, is the famous Irish
Antiphonary of Bangor (Antiphonarium Benchorense), written around the year 680, and now conserved since 1609 in the Bibliotheca Ambrosiana in Milan, under
the call number C.5 inf; cf. F. E. Warren, ed., The Antiphonary of Bangor. An Early Irish Manuscript in the Ambrosian Library of Milan, Part I / Part II, Henry
Bradshaw Society Nr. 4, 1893/1895, p. 10; see Part II: https://archive.org/stream/antiphonarybang00ambrgoog#page/n54/mode/2up. In the Bangor
Antiphonary, there exists a lacuna of three of verses of the Latin Hymn-Psalm Te Deum Laudamus, namely verses: 26, 27, and 29, see folios 10r-10v •
(c) The oldest known source giving excerpts of the musical text of the Latin Hymn-Psalm Te Deum laudamus is the anonymus musical treatise Musica et
Scholica Enchiriadis (9th c. ca. 880 | ed. H. Schmid, 1981); these excerpts are verse 1: « Te Deum laudamus. Te Dominum confitemur », and verse 15: « Tu Patris
sempiternus es Filius » •
(d) The very first known complete musical version of the Latin Hymn-Psalm Te Deum laudamus, with musical notation on a 4-line « guidonian » type staff,
is conserved in the 12th-century Cistercian Antiphonary: Paris, BnF, Fonds latin 8882, f. 143-144. This version of the Te Deum Laudamus is not the Tonus
sollemnis, but closer to what iss called the “Tonus monasticus” •
(e) Outside of its normal liturgical framework, that is to say, according to the monastic Rule of Saint Benedict, at the end of the third and last Nocturne
of the Divine Office of Vigils (Matins), the Latin Hymn-Psalm Te Deum laudamus enjoyed a universal reputation in Latin Christendom. The Te Deum laudamus
was intoned, for example, at the coronation of the Carolingian Emperor Louis The Pious (*778-840) by the Pope Stephen IV on the 5th of October, 816, in
the city of Reims (G.H. Pertz, Vita Hludowici Imperatoris, M.G.H., Scriptorum, II, Hannover, 1829, p. 620: §26). Then, from the 12th through the 16th century, the
Te Deum laudamus was often used to begin and/or conclude the para-liturgical religious musical works, such as the liturgical sung and spoken dramas, the liturgical sung
and spoken mysteries, the liturgical sung and mimed mysteries, the “court de paradis”, etc., all of which are the mediæval and renaissance ancestors of the dialogue musical
form, which came to be known as Opera” (cf. Paris, BnF, Fonds français 25532 (13th c.), see Court de paradis, f. 333, col. 1: line 2; Paris, BnF, Fonds français
25566 (13th c.), see Mystère de s. Nicolas de Jean Bodel, f. 68, col. 1: line 25 à f. 83, col. 1: line 33; E. de Coussemaker, Drame liturgiques du Moyen âge (texte et
musique), Paris, 1861 | Genève, Paris, 1975; L. Petit de Julleville, Les mystères, Vol. 1 & 2, Paris, 1880, Vol. 1, p. 39, 46, 53, 57, 71, 143, 168, 253, 254, Vol. 2, p.
222-229; H. Omont, Catalogue général de manuscrits français, 13, Paris, 1902, p. 623-626; Susan Rankin, The Music of the Medieval Liturgical Drama in France and
England, New York, London, 1989, 2 Vol.; Peter F. Williams, The Organ in Western Culture. 750-1250, Cambridge (CUP), 1993, 1995, 2004, Ch. 5, p. 70-93, see p.
93); http://www.arlima.net/ad/court_de_paradis.html
(f) The melody of the Te Deum laudamus was also often parodied and married with profane love-song lyrics such as the chanson « Bele Yolanz en ses
chambres » (“Beautiful Yolanda in her [private] Chambers”). This secular version of the Hymn-Psalm Te Deum laudamus is conserved in the well-known manuscript
called the Chansonnier de Saint-Germain-des-Prés, Paris, Bibliothèque nationale de France, Fonds français 20050, f. 64v (Bartsch 7); both the manuscript and the
chanson are datable to the 13th century: http://gallica.bnf.fr/ark:/12148/btv1b60009580/f1.image; cf. Le Chansonnier français de Saint-Germain-des-Prés. Reproduction
prototypique, avec transcription, Paul Meyer (1840-1917), Gaston Raynaud (1850-1911), ed., Paris (Librairie de Firmin Didot et Cie.), 1892, Tome 1 :
https://archive.org/stream/lechansonnierfra00meye#page/n139/mode/2up • cf. Venance Fortunat: https://www.youtube.com/watch?v=zSoDU9HSpY4
• [¶3] The literary text of the Latin Hymn-Psalm Te Deum laudamus is a subtle mixture of non-metrical poetry, Psalm verses, Psalm collects and biblical verses
taken from the Book of Psalms, from the Prophets and from the New Testament. In the jargon of philologists, musicologists, and liturgists, the practice of
text-mixing in order to create a new composite text is called “centonisation”, from the Latin word “
cento
”, a kind of “literary patchwork made of 100 pieces” •
• [¶4] From a musical standpoint, the Latin Hymn-Psalm Te Deum laudamus is said to be chanted in the 3rd mode (i.e. E: Deuterus authenticus); this modal
attribution is of course an arbitrary anachronism. Indeed, the first known attestation in the West of the 8 ecclesiastical modes (ὀκτώηχος, -ου) is found in
the tonary of the famous manuscript called the “Psalter of Charlemagne”: cf. Paris, BnF, Fonds latin 13159 (ca. 795), f. 167r°-167v°; this manuscript is believed
to have been written in France at Corbie (Northern Neustria) for the Abbey of Saint-Riquier (Michel Huglo, Les Tonaires, Paris, 1971, p. 25-29). The Te Deum
laudamus is in fact a musical composition whose melody is based entirely on three pentatonic formulas, namely: E G-A, G-A C and for verses 21-23: C-D F.
These three pentatonic formulas are also observed in the the majority of the melodies of the « Gregorian » repertoire •
• [¶5] In conclusion, it should be noted that there are 5 different versions of the Latin Hymn-Psalm Te Deum laudamus, namely: Tonus sollemnis, Tonus monasticus,
Tonus simplex, Tonus ambrosianus, Tonus iuxta morem romanum
[¶6] BIBLIOGRAPHY:
Dom Paul Cagin, Te Deum ou Illatio? Contribution à l’Histoire de l’Euchologie latine à propos des origines du Te Deum, Solesmes, 1906, p. 143-144 •
Illo Humphrey, « L ‘Hymne des Vigiles: Te Deum laudamus’. Une étape importante dans l’histoire de la musique liturgique latine », in Cahiers du centre de
recherches musicologiques de l’Université Lumière-Lyon 2 : Itinéraires de la musique française, théorie, pédagogie et création, Anne Penesco (ed.), Lyon (Presses Universitaires de
Lyon), 1996, pages 15-50 (12 Plates): https://u-bordeaux3.academia.edu/IlloHumphrey/Papershttps://www.researchgate.net/profile/Illo_Humphrey/publications
Illo Humphrey, « Le cantus firmus et la mélodie du ‘Te Deum laudamus’ dans un fragment du manuscrit Cambridge, Gonville and Caius College, 334.727(XIVe
s. début) », in Itinéraires du Cantus Firmus VII. Cantus Firmus Hymnologique, Lexicographique, Pédagogique, Édith Weber (ed.), Paris (Presses Universitaires de Paris–
Sorbonne), 2004, pages 23-34: https://u-bordeaux3.academia.edu/IlloHumphrey/Talkshttps://www.researchgate.net/profile/Illo_Humphrey/publications
http://orcid.org/0000-0002-1130-0397 • © Illo Humphrey, Ph. D.-HDR | 1996 | 2004 | 2016 •
ILLO HUMPHREY, PH. D.-HDR - 20 -
• Lecture | Carolingian Liberal Arts & Humanities: pages 1-22 | IWA1-08 – 10:30 a.m. | 19-VII-2016 •
• Concert
a cappella
: PRE-“GREGORIAN & “GREGORIAN CHANT: pages 23-24 | IWA-Theatre 1 – 12:05 p.m. | 19-VII-2016
• Ollscoil Luimnigh / University of Limerick |mh Chruinne Éireann Rince agus Ceol / Irish World Academy of Music & Dance •
Figure 8
Musical Example 2
Dominica Resurrectionis | Antiphona ad Introitum IV | Resurrexi (Psalmus CXXXVIII: 18, 5, 6, 1-2)
Illumination on unbleached cotton by Illo Humphrey | Paris, February 1987 | Dimensions: 91 cm x 59 cm
Dominia Resurrectionis | Antiphona ad Introitum IV | Resurrexi (Psalmus CXXXVIII: 18, 5, 6, 1-2)
© Illumination on unbleached cotton done by Illo Humphrey | February 1987 | Dimensions: 91 cm x 59 cm
Featuring from top to bottom 7 different superposed musical notaions, namely:
[1] Benevento VI 34, 11th-12th c. (P.M. XV) [2] Paris, BnF, Fonds latin 903, Saint-Yriex, 11th c. (P.M. XIII)
[3] Paris, BnF, Fonds latin 776, Albi, 11th c. (P.M. XIII) [4] Montpellier, Faculté de Médecine, H159, 11th c. in. (P.M. VII, VIII)
[5] Musica et Scholica Enchiriadis, 9th c. • [6] B. m. Laon, 239, 9th-10th c. (P.M. X) [7] Einsiedeln, 121, 10th c. (P.M. IV)
Nota bene:
P.M. = Paléopgraphie musicale | Première série in 20 Volumes | Founder: Dom André Mocquereau | Bern (Lang) | 1889-1983
ILLO HUMPHREY, PH. D.-HDR - 21 -
• Lecture | Carolingian Liberal Arts & Humanities: pages 1-22 | IWA1-08 – 10:30 a.m. | 19-VII-2016 •
• Concert
a cappella
: PRE-“GREGORIAN & “GREGORIAN CHANT: pages 23-24 | IWA-Theatre 1 – 12:05 p.m. | 19-VII-2016
• Ollscoil Luimnigh / University of Limerick |mh Chruinne Éireann Rince agus Ceol / Irish World Academy of Music & Dance •
Figure 9
Paris, Bibliothèque nationale de France, Fonds latin 1, f. 215v
(Frontispice of the Book of Psalms)
Bible of the Abbot Vivian | “1st Bible of Charles II the Bald”
Origin: Saint-Martin de Tours • Beneficiary: Charles II the Bald • Date: ca. 845-846 •
Dimensions: 495 mm x 375 mm: i.e. an absolute proportion of 1 to 1.32
Inscription: Pslamificvs David resplendit et ordo peritvs • Eivs opvs canere musica ab arte bene •
(cf. Ludwig Traube, M.G.H.: Poetae latini aevi carolini, Tomu. III (pars prior), Berlin, 1886, p. 248 : Versus V)
Script : caroline minuscule • capitalis « rustiica »
Decoration: 8 miniatures « full page » • 80 lettrines • Titles in gold letters on purple parchment (cf. dedication: f. 422v) •
Possessors: Treasure of the Cathedral of Metz du 10th to 17th c. •
J.-B. Colbert acquired the manuscript as a gift from the Canons of Metz in 1675 (cf. 1v) • Enters the Bibliothèque royale in 1732 •
Present call number: given in the catalogue of 1744 (manuscripts from 1 to 8822) •
BIBLIOTHEQUE NATIONALE DE FRANCE (Richelieu) http://archivesetmanuscrits.bnf.fr/ead.html?id=FRBNFEAD000008447
HUMPHREY (Illo), « La philosophie de l’image dans la pratique iconographique carolingienne (quelques observations sur la pratique iconographique en Neustrie au
IXe siècle) : l’exemple du scriptorium de Saint-Martin de Tours entre 830 et 851 », MedRen Music Conference 13-16-VII-2005, 45 pages, 10 planches hors-texte. Cf.
Université François-Rabelais de Tours (CESR) : http://ricercar.cesr.univ-tours.fr/archives_actualite/medren/Papers/Humphrey.pdf https://u-
bordeaux3.academia.edu/IlloHumphrey/Papers https://www.researchgate.net/profile/Illo_Humphrey/publicationshttp://orcid.org/0000-0002-1130-0397
HUMPHREY (Illo), « La philosophie de l’image dans la pratique iconographique carolingienne (quelques observations sur la pratique iconographique en Neustrie au
IXe siècle) : l’exemple du scriptorium de Saint-Martin de Tours entre 830 et 851 » (ed.) Colloquia Aquitana II 2006 Boèce ([Boethius], Rome, ca. 480 – Pavie, ca. 524),
l’homme, le philosophe, le scientifique, son oeuvre et son rayonnement, Volume I : 535 pages, Paris (Éditions Le Manuscrit), 2009, Volume 1, Chapter 3, p. 279-313 : https://u-
bordeaux3.academia.edu/IlloHumphrey/Bookshttps://www.researchgate.net/profile/Illo_Humphrey/publications
ILLO HUMPHREY, PH. D.-HDR - 22 -
• Lecture | Carolingian Liberal Arts & Humanities: pages 1-22 | IWA1-08 – 10:30 a.m. | 19-VII-2016 •
• Concert
a cappella
: PRE-“GREGORIAN & “GREGORIAN CHANT: pages 23-24 | IWA-Theatre 1 – 12:05 p.m. | 19-VII-2016
• Ollscoil Luimnigh / University of Limerick |mh Chruinne Éireann Rince agus Ceol / Irish World Academy of Music & Dance •
• Nota bene (3) •
Proto-philological Description of Paris, BnF, Fonds latin 1, f. 215v
CONCLUSION: Dixit Illo [Ph. D. Dissertation - 2004 | MedRen Music Conference (Tours) - 2005 | Colloquia Aquitana II - 2006] This magnificent
Carolingian illumination Dauid rex et prop[heta], created in the scriptorium of Saint-Martin de Tours, reveals a subtle and complex mélange of
judeo-christian, pythagorean, platonic, and boethian influences, all of which converge into one harmonious and coherent biblical, spiritual,
religious, ethical-moral, ritual, musical, mathematical, and philosophical synccretism (ὁ συγκρητισμός). It is indeed a singular example of
Carolingian iconography, which sheds light directly on the high level of general culture, that is to say on the “humanitas, eruditio institutioque in
bonas artes [liberales]”: Quadruvium [sic] (ars arithmetica, ars musica, ars geometrica, ars astronomica) • Trivium (ars grammatical, ars logica | ars dialectica, ars
rhetorica), Scientia rerum divinarum (Theology), Divina Officia (Liturgy), Ethica (Ethics), etc., general culture which was characteristic of all the
Carolingian schools belonging to the imperial network of monasteries in Neustria, known as the Ordo palatii(J. Heuclin, « Les abbés des
monastères neustriens 650-850 », La Neustrie. Les pays au nord de la Loire de 650 à 850, ed. Hartmut Atsma, Vol. I, 1988, p. 331, 334, 335, see
map, p. 337: ‘L’Ordo Palatii’ en Neustrie, p. 338: « Les Abbés du IXe s. », p. 339: « Les Abbés du VIIe s. », p. 340: « Les Abbés du VIIIe s. »). The
high level of Liberal Arts and Humanities in the Ordo palatii during the 1st and 2nd Carolingian Renaissance (“renovatio| correctio”), and beyond,
was largely due to the virtues of Alcuinus Euboricensis (Alcuin of York, 804), Præceptor of the Schola Palatina in « Urbs aquensis urbs regalis »
(Aachen | Aix-la-Chapelle), Minister of Education and Cultural under Charlemagne (814), Abbot of Saint-Martin de Tours (796-804), who
was described as “uir undecumque doctissimus” (“a man in all respects altogether learned”) by the biographer of Charlemagne, Eginhardus, (Vita Karoli
Magni § XXV, Monumenta Germaniæ Historica: Scriptores rerum germanicarum in usum scholarum separatim editi 25, O. Holder-Egger (ed.), 1911, p. 30) •
• (1) Exterior Form: rectangle non-oblong «
parte altera longiores
» • Boethii De arithmetica II, 31 •
• (2) Dimensions: ca. 297 mm x 225 mm (60% of the surface of folio 215v) •
• (3) Absolute Proportions: 1 1.32 ca. (i. e. almost the proportion of a perfect 4th = 1.33333333 •
• (4) Interior Form: 1 big central mandorla + 3 smaller mandorlas •
• (5) Total number of Personages: 1 + 4 + 6 = (1 + 10) •
• (6) 4 Spandrel images (4 Corner personnages): The Quattuor uirtutes animae (4 Cardinal Virtues of the Soul): Prvdentia • Ivstitia
Fortitvdo Temperantia; cf. Πλάτων Νόμοι Νομοθεσίαι ιβʹ (Plato, Laws or Legislations), I,VI: 631b-631c: τὰ ἀγαθά θεῖα
καὶ ἀνθρώπινα (Summum bonum | Highest Divine and Human Good | Sovereign Good):
φρόνησις καὶ
ὑγίεια (wisdom and
hygiene),
σωφροσύνη καὶ τὸ κάλλος (moderation and beauty), ἡ δικαιοσύνη
καὶ ἡ ἰσχύς (justice and power),
ἀνδρεία κα
ὁ πλοῦτος(courage and riches); Ἀριστοτέλις Σταγειρίτης Ἠθικὰ Νικομάχεια τῶν [εἰς Ιʹ] (Aristotélis o
Stageirítis, *384 - 322, Ithikà Nikomácheía tôn eîs Iʹ: On Ethics to Nikomachos in 10 Books I, 13: 1102a 27 • VI, 2: 1139a 1 • VI, 2, 1143b 1):αἰ
[τῆς ψυχῆς] ἠθικαὶρεταί”; Cicéron Partitiones oratoriae, 22, 76-79; Alkínoos, Didaskalikós, 29-30; Diogenís Laertios, III: 56;
Aurelius Augustinus, Contra Academicos, III: 17, 37; Macrobius, Commentarium in somnium Scipionis, I, 8, 8; Cassiodorus, Institutiones, II, 2: 5-7;
Isidorus Hispalensis, Etymologiarum, II, 24: 5-6. Ici, l’ordre des
quattuor uirtutes animæ
est identique à celui proposé par Isidorus (Etym.
II, 24: 5); Ilsetraut Hadot, Arts libéraux et philosophie dans la pensée antique, Paris (CNRS), 1984, p. 84-87, 210, 211 •
• (7) Interior Personnages: 1 King (Dauid rex et prop[heta]) + 2 Body Guards (Cerethi & phe Lethi [sic]: I Chronicles 18: 17) + 4
musicians (AsaphAemanAethanIdithun: I Chronicles 6: 33-44 15: 17-19 16: 41-42, etc.) •
• (8) Grouping of Personnages: 1 4 • 1 6 • 4 7 • 1 10 •
• (9) Geométrical Forms: 15 circles • 10 triangles • 2 rhombi • 2 parallelograms •
(10) Musical Instruments: trigon, psalterium, cythara or « anglica » (triangular harp with 15 strings, corresponding to τὰ τέλειον μείζων
Σύστημα, «
the
greater perfect systeme
», with 15 notes: cf. Boethii De institutione musica I, 20), cornu, -us (shofar, trumpet-horn with
upturned bell), lyra, -ae (lyre with 3 strings), small flute-horn with upturned bell, cymbala or tabellae, cymbals or “crotales” •
• BIBLIOGRAPHY
Bibliothèque nationale de France (Richelieu) http://archivesetmanuscrits.bnf.fr/ead.html?id=FRBNFEAD000008447
Philippe Lauer, Catalogue général des manuscrits latins, Vol. I, Paris, 1939, Nr. 1 •
Catalogue
des manuscrits en écriture latine portant des indications de date, de lieu ou de copiste, Vol. II, Paris (CNRS), 1959, p. 3 •
Wilhelm Köhler, Die karolingischen Miniaturen. Die Schule von Tours, Band I (1): Die Ornamentik. Band 1(2): Die Bilder, p. 13, 27, 102, Tafelband, I (3), pl. 72, Berlin, 1930 | 1963:
http://www.dvfk-berlin.de/page/de/publikationen-seit-1908/dvfkminiaturen.php
G. Bologna, Merveilles et splendeurs des livres du temps jadis, Milano, Paris, 1988, p. 75-76 •
Denise Bloch, « La Bibliothèque de Colbert », Histoire des bibliothèques françaises. l’Ancien Régime: 1530 à 1789, Paris, 1988, p. 162-173 •
Florentine Mütherich, « Les manuscrits enluminés en Neustrie », in La Neustrie. Les pays au nord de la Loire de 650 à 850, ed. H. Atsma, Volume I, Sigmaringen (Thorbecke),
1989, Vol. II, p. 329, 331 •
Eric Palazzo, « L’enluminure à Metz du Haut Moyen Age », in Metz enluminé, Metz, 1989, p. 29, pl. C •
P. E. Dutton et H. L. Kessler, The Poetry and Paintings of the First Bible of Charles the Bald, Ann Arbor (University of Michigan Press) 1997, 198 pages, 36 photos, 5 in colour •
Isabelle Marchesin, L’Image organum. La représentation de la musique dans les psautiers médiévaux 800 – 1200, Turnhout (Brepols), 2000, pages: 14, 19, 21, 25-26, 54, 63, 83, 11-112,
123-124, 131, Illustrations : D • 12 • 12* •
Marie-Thérèse Gousset, « Aanalyse géométrique de la miniature « David rex et prop[heta] » conservée dans Paris, BnF, Fonds latin 1, f. 215v° », Paris, BnF, March 23rd,
2002, 3 pages, 2 Plates (unedited) • © ILLO HUMPHREY, PH. D.-HDR | Explicit
• Ollscoil Luimnigh / University of Limerick | Dámh Chruinne Éireann Rince agus Ceol / Irish World Academy of Music & Dance •
Die veneris• idibus iulii• anno domini intercalare CB• bis millesimo decimo sexto
• (Friday, the Ides of July, i. e. the 15th of July, Leap Year of the Lord CB, 2016) •
• Sainte-Foy des Vignes | 24130 | Bergerac | France •
Dedicatio | Dédicace | Acknowledgement | Widmung
• Magistro meo• Michæli Hugloni• cuius humanitas• eruditio• institutioque in bonas artes liberales• semper in animo meo profunde vivunt •
• À mon Maître Michel Huglo, dont l’humanitas• eruditio• institutioque in bonas artes liberales• évoluent toujours vivement en moi •
• To my Master Michel Huglo whose humanitas• eruditio• institutioque in bonas artes liberales• still live deeply in me •
• Meinem Meister Michel Huglo dessen humanitas• eruditio• institutioque in bonas artes liberales• sich in mir immer noch tief entwickeln •
ILLO HUMPHREY, PH. D.-HDR - 23 -
• Lecture | Carolingian Liberal Arts & Humanities: pages 1-22 | IWA1-08 – 10:30 a.m. | 19-VII-2016 •
• Concert
a cappella
: PRE-“GREGORIAN & “GREGORIAN CHANT: pages 23-24 | IWA-Theatre 1 – 12:05 p.m. | 19-VII-2016
• Ollscoil Luimnigh / University of Limerick |mh Chruinne Éireann Rince agus Ceol / Irish World Academy of Music & Dance •
C
CC
Concert a cappella | P
PP
PRE-“G
GG
GREGORIAN - &
&&
&
- G
GG
GREGORIAN C
CC
CHANT
Te Deum laudamus
Hymnus-Psalmus pro gratiarum actione | Divinum Officium Vigilarum | Tonus sollemnis | 4th century
The Te Deum laudamus is an anonymous pre-“Gregorian” Latin Hymn-Psalm, composed at the end of the 4th century, and which
may very well be of Irish origin. It is a doxology chant (chant of praise) sung « in directum », that is to say from beginning to end
without refrain, just as monastic psalmody. According to the Rule of Saint Benedict of Nursia (6th c., 2nd half), the Te Deum laudamus
is sung at the end of the Office of the Vigils (Matins); cf. Adalbert de Vogüé et Jean Neufville, La Règle de saint Benoît, édition critique,
Paris (Editions du Cerf), 1972, Vol. 2, Ch. XI, p. 514-516. In the modern Benedictine practice, the Te Deum laudamus is sung every
Sunday, and on most of the feast days in the liturgical year, at the end of the third and last Nocturnal Lesson of the Office of Matins.
The Te Deum laudamus has 29 verses, the first 23 of which are the oldest; it should be noted however, that the last 6 verses were
added between the 5th and the 6th century. The literary text of the Te Deum laudamus is a subtle mixture of non-metrical poetry, Psalm
verses, Psalm collects or orationes (cf. Paris, BnF, Fonds latin 13159, 8th c., f. 155-155v) and biblical verses taken from the Book of
Psalms, from the Prophets, and from the New Testament. In the jargon of philologists, musicologists, and liturgists, the practice of
text-mixing in order to create a new composite text is called “centonisation”, from the Latin word cento”, a kind of “literary patchwork
of 100 pieces. From a musical standpoint, the Te Deum laudamus is said to be chanted in the 3rd mode (i.e. E: Deuterus authenticus);
this modal attribution is of course an arbitrary anachronism. Indeed, the first known attestation in the West of the 8 ecclesiastical
modes ( ὀκτώηχος, -ου) is found in the tonary of the famous “Psalter of Charlemagne”: cf. Paris, BnF, Fonds latin 13159 (ca.
795), f. 167r-167v; this manuscript is believed to have been written in France at Corbie (Northern Neustria) for the Abbey of Saint-
Riquier; cf. Michel Huglo, Les Tonaires, Paris, 1971, p. 25-29. The Te Deum laudamus is in fact a musical composition whose melody is
based entirely on three pentatonic formulas, namely: E G-A, G-A C and for verses 21-23: C-D F. These three pentatonic formulas
are also observed in the melodies of the « Gregorian » repertoire. In conclusion, it should be noted that there are 5 different versions
of the Te Deum laudamus, namely: Tonus sollemnis, Tonus monasticus, Tonus simplex, Tonus ambrosianus, Tonus iuxta morem romanum
Nota bene (1): The oldest known source which transmits the literary text of the hymn Te Deum laudamus in its almost entirety, is the
famous Irish Antiphonary of Bangor (“Antiphonarium Benchorense”), written around the year 680, transferred to the Italian monastery of
Bobbio at an uncertain date, and conserved since 1609 in the Bibliotheca Ambrosiana in Milan, under the call number C.5 inf.; cf. F. E.
Warren, ed., The Antiphonary of Bangor. An Early Irish Manuscript in the Ambrosian Library of Milan, Part I / Part II, Henry Bradshaw Society Nr.
4, 1893/1895, p. 10; see Part II: https://archive.org/stream/antiphonarybang00ambrgoog#page/n54/mode/2up. In the Bangor
Antiphonary, there exists a lacuna of three verses of the Te Deum Laudamus, namely verses: 26, 27, and 29 [sic], see folios 10r-10v
Nota bene (2): The very first known complete musical version of the hymn Te Deum laudamus, with musical notation on a 4-line
« guidonian » type staff, and is conserved in the 12th-century Cistercian Antiphonary: Paris, BnF, Fonds latin 8882, f. 143-144. This version
of the ‘Te Deum Laudamus is not the Tonus sollemnis but closer to the Tonus monasticus.
BIBLIOGRAPHY: Dom Paul Cagin, Te Deum ou Illatio ? Contribution à l’Histoire de l’Euchologie latine à propos des origines du Te Deum,
Solesmes, 1906, p. 143-144 •
• Illo Humphrey, « L ‘Hymne des Vigiles: Te Deum laudamus’. Une étape importante dans l’histoire de la musique liturgique latine », in Cahiers du
centre de recherches musicologiques de l’Université Lumière-Lyon 2 : Itinéraires de la musique française, théorie, pédagogie et création, Anne
Penesco (ed.), Lyon (Presses Universitaires de Lyon), 1996, pages 15-50 (12 Plates): https://u-bordeaux3.academia.edu/IlloHumphrey/Papers
https://www.researchgate.net/profile/Illo_Humphrey/publicationshttp://orcid.org/0000-0002-1130-0397
• Illo Humphrey, « Le cantus firmus et la mélodie du ‘Te Deum laudamus’ dans un fragment du manuscrit Cambridge, Gonville and Caius College,
334.727(XIVe s. début) », in Itinéraires du Cantus Firmus VII. Cantus Firmus Hymnologique, Lexicographique, Pédagogique, Édith Weber (ed.),
Paris (Presses Universitaires de Paris–Sorbonne), 2004, pages 23-34: https://u-bordeaux3.academia.edu/IlloHumphrey/Talks
https://www.researchgate.net/profile/Illo_Humphrey/publicationshttp://orcid.org/0000-0002-1130-0397
Π – π = ἡ πρακτική, τῆς πρακτικῆς Θ – θ = ἡ θεωρητική, τῆς θεωρητικῆς
(cf. Boethii Consolatio Philosophiæ, I, Prosa, 1: ed. R. Peiper, p. 4 • Cassiodori Institutiones, II, III, 4: ed . R. Mynors, p. 110)
ILLO HUMPHREY, PH. D.-HDR - 24 -
• Lecture | Carolingian Liberal Arts & Humanities: pages 1-22 | IWA1-08 – 10:30 a.m. | 19-VII-2016 •
• Concert
a cappella
: PRE-“GREGORIAN & “GREGORIAN CHANT: pages 23-24 | IWA-Theatre 1 – 12:05 p.m. | 19-VII-2016
• Ollscoil Luimnigh / University of Limerick |mh Chruinne Éireann Rince agus Ceol / Irish World Academy of Music & Dance •
Alleluia, Pascha nostrum
[M-R-B-C-K-S](1) (7th Mode: Tetrardus authenticus)
Dominica Resurrectionis ad Missam in Die | Easter Day Mass | 8th century
Alleluia, Pascha nostrum immolatus est, Christus. Alleluia (da capo)
The Alleluia, Pascha nostrum is taken from the New Testament text 1st Corinthians 5: 7, 8. It is without doubt one of the
most magnificent Chants of the Carolingian « Gregorian » repertoire. Sung in the 7th mode: G (Tetrardus authenticus), it has
also an A-B-A1, structure, the B part (i.e. the verse) being reserved for a soloist. The second verse: « Epulemur in azimis
sinceritatis et veritatis », composed in a very high register, is rarely sung. The first known attestation of this chant, dated around
the year 800, is found in the Graduals from Rheinau and from Mont-Blandin (ca. a. D. 800) •
BIBLIOGRAPHY: Graduale Triplex, Solesmes, 1979, p. 197-198; Sarah Fuller, The European musical Heritage: 800-1750, New York
(A. A. Knopf, Inc.), 1987, p. 9-10 (n° 1f) •
Sequentia cum Prosa Victimae Paschali laudes
(Ist Mode: Protus authenticus)
Dominica Resurrectionis ad Missam in Die | Easter Day Mass | 11th century
Victimae Paschali laudes immolent Christiani.
Agnus redemit oves, Christus innocens Patri reconciliavit peccatores.
Mors et vita duello conflixere mirando, dux vitae mortuus, regnat vivus. Dic nobis Maria, quid vidisti in via ?
Sepulcrum Christi viventis, et gloriam vidi resurgentis, Angelicos testes, sudarium et vestes.
Surrexit Christus spes mea, praecedet suos in Galilaeam. Scimus Christum surrexisse a mortuis vere, Tu nobis, victor Rex, miserere.
[Amen. Alleluia] •
The sequentiae cum prosa are syllabic Chants. They are generally based on a note for note scheme of the melismatic melodies of the
Alleluia chants which precede them. However, this well-known sequence with prose is not based on the melody of Alleluia, Pascha nostrum, but
on that of the Alleluia, Christus resurgens ex mortuis taken from the Mass of the 5th Sunday after Easter. Attributed to a certain Wipo the
Burgundian (ca. 990-1050), the Victimae Paschali laudes, a short dialog between the disciples of Christ and Mary of Magdala, is also a
“centonisation” based on several New Testament texts, namely: Matthew 28: 1-7, Mark 16: 1-11, John 20: 10-20, Romans 6: 9. This
sequence is sung in the 1st mode: D (Protus authenticus). It is interesting to note that the melody of the Victimae paschali laudes was used by
the former Augustian monk and erudite German reformer Martin Luther in 1524 for the composition of the well-known choral « Christ
lag in Todesbanden » (« Christ laid in the bonds of death »), which was later arranged for organ by the baroque composer J. S. Bach •
BIBLIOGRAPHY: Dag Norberg, Manuel pratique de latin médiéval, Paris (Picard), 1980, p. 59 ; Ritva Jacobsson, « Le Style des prosules d’Alleluia, genre
mélogène », in Le polifonie primitive in Friuli e in Europa. Atti del congresso internazionale, Cividale de Friuli, 22-24 agosto 1980, edited by C. Corsi, P. Petrobelli,
Miscellanea Musicologica 4, Roma, 1989, pp. 367-373; Olof Marcusson, ed. Corpus Troporum II. Prosules de la Messe I. Tropes de l’Alleluia, Acta Universitatis
Stockholmiensis, studia Latina Stockholmiensia 22, Stodkholm, 1976; Richard Crocker, The early medieval Sequence, Berkeley (California), 1977; Graduale
Triplex, Solesmes, 1979, p. 198-199. Nota bene: in this excellent study by Richard Crocker, it should be noted that the Sequentia cum prosa Victimae
Paschali laudes, composed in the 11th century, is not mentioned •
______________________
(1) The Sigla M-R-B-C-K-S represent the 6 oldest known Carolingian manuscripts containing the repertoire of the Proper “Gregorian” Mass, namely:
M = Cantatorium from Monza (9th c.), R = Gradual from Rheinau (ca. 800), B = Gradual from Mont-Blandin (8th-9th c.), C = Gradual from
Compiègne (9th c.), K = Gradual from Corbie (after 853), S = Gradual from Senlis (9th c.); cf. Dom René Jean Hesbert, Antiphonale Missarum Sextuplex,
Bruxelles, 1935. However, it must be noted that, these 6 manuscripts contain only the literary text of the Chants, being totally bereft of neumes, that is
to say pre-solfegic Carolingian musical notation. The first neumes appear in Northern Neustria in the 2nd half of the 9th century: cf. Laon (France),
Bibliothèque municipale, manuscrit 239 • © Illo Humphrey | Ph. D.-HDR | Explicit | University of Limerick | Ireland | 19-VII-2016
Π – π = ἡ πρακτική, τῆς πρακτικῆς Θ – θ = ἡ θεωρητική, τῆς θεωρητικῆς
(cf. Boethii Consolatio Philosophiæ, I, Prosa, 1: ed. R. Peiper, p. 4 • Cassiodori Institutiones, II, III, 4: ed . R. Mynors, p. 110)
ILLO HUMPHREY, PH. D.-HDR - 25 -
• Lecture | Carolingian Liberal Arts & Humanities: pages 1-22 | IWA1-08 – 10:30 a.m. | 19-VII-2016 •
• Concert
a cappella
: PRE-“GREGORIAN & “GREGORIAN CHANT: pages 23-24 | IWA-Theatre 1 – 12:05 p.m. | 19-VII-2016
• Ollscoil Luimnigh / University of Limerick |mh Chruinne Éireann Rince agus Ceol / Irish World Academy of Music & Dance •
• Illo Humphrey, Ph. D. | HDR •
• Mediævalist | Musicologist | Proto-Philologist | Concert-Baritone | Trilingual simultaneous Interpreter •
http://www.colloquiaaquitana.com/?page_id=754 http://orcid.org/0000-0002-1130-0397
Associate Researcher | EA 4593 CLARE - LaPRIL | Université Bordeaux Montaigne | 33607 Pessac | France
http://clare.u-bordeaux3.fr/images/COLLOQUES/2016/05_epistolaire/ProgColloque-Bordeaux.2016.pdf
https://u-bordeaux3.academia.edu/IlloHumphrey https://www.researchgate.net/profile/Illo_Humphrey http://orcid.org/0000-0002-1130-0397
Fellow | Member of the Board | ICONEA | Faculty of Oriental Studies | University of Oxford | UK
http://www.iconea.org/?p=444
CURRICULUM VITÆ:
• Name in Full: Raymond Illo Humphrey •
• Vital Statistics: Born the 5th of August, 1947 | USA
Dual Nationality: French & American
• Marital Status: Married, father of 3 sons •
Address in France:
Villa Aquitana • Béluzie-Est • Route de Sainte-Foy-des-Vignes •
• 24130 Ginestet | France or 24100 Bergerac | France •
• Tel. (Landline): +33(0)9 52 45 02 53 | (Cell): +33(0)6 51 30 69 96 •
• Address E-mail: illo.humphrey@free.fr illohumphrey01@gmail.com • Address Skype: illo.humphrey
ACADEMIC PROFILE:
• Illo Humphrey: Mediævalist | Musicologist | Proto-Philologist | Concert-Baritone | Trilingual simultaneous Interpreter (French -
English - German)
2014: HDR [Habilitation to direct Doctoral and Post-doctoral Research] in the Philosophy of Music: Université Paris Ouest
Nanterre La Défense (UFR PHILLIA: Philosophie, Information-Communication, Langages, Littératures, Arts du spectacle)
2004: Ph. D. in Philosophy and Epistemology, History of the Sciences and Technology: Université Paris Ouest Nanterre La Défense
(UFR Philosophie, Épistémologie, Histoire des Sciences et Techniques)
2003: Qualified University Lecturer by the CNU (National Council of French Universities), Section 18: Musicologie, Qualification
number 07218128247 | https://www.legifrance.gouv.fr/affichTexte.do?cidTexte=JORFTEXT000000794900
1994: Master of Arts Degree 1: Élève diplômé | École Pratique des Hautes Études (IVe Section – Sorbonne) in Mediaeval Studies •
1994: Master of Arts Degree 2: DEA in Mediæval History | Université de Paris 1 (Panthéon-Sorbonne)
1990 – 1994: Enrolled auditor: ÉCOLE NATIONALE DES CHARTES | 4 CERTIFICATES IN MEDIÆVAL STUDIES
PROFESSIONAL PROFILE:
• Associate Researcher | EA-4395 CLARE - LaPRIL | Université Bordeaux Montaigne | Pessac | France •
• Fellow and Member of the Board | ICONEA | Faculty of Oriental Studies, University of Oxford | UK: http://www.iconea.org/?p=444
• Associate Researcher and Member | Université Populaire Méroë-Africa | Paris, France | CERDOTOLA | Yaoundé, Cameroun:
http://www.universitepopulairemeroeafrica.org/Illo-Humphrey
• Postgraduate Academic Supervisor & Tutor | Postgraduate Support Ltd. | London (UK):
http://postgraduatesupport.com/academics/http://postgraduatesupport.com/dr-illo-humphrey/
• Member | Tombouctou Manuscripts Project | University of Cape Town: Institute for Humanities in Africa | South Africa:
http://huma.co.za/?s=tombouctou+manuscripts+project | http://www.tombouctoumanuscripts.org/fr/
Π – π = ἡ πρακτική, τῆς πρακτικῆς • Θ – θ = ἡ θεωρητική, τῆς θεωρητικῆς
cf. Boethii Consolatio Philosophiæ, I, Prosa, 1: ed. R. Peiper, p. 4 • Cassiodori Institutiones, II, III, 4: ed. R. Mynors, p. 110
ILLO HUMPHREY, PH. D.-HDR - 26 -
• Lecture | Carolingian Liberal Arts & Humanities: pages 1-22 | IWA1-08 – 10:30 a.m. | 19-VII-2016 •
• Concert
a cappella
: PRE-“GREGORIAN & “GREGORIAN CHANT: pages 23-24 | IWA-Theatre 1 – 12:05 p.m. | 19-VII-2016
• Ollscoil Luimnigh / University of Limerick |mh Chruinne Éireann Rince agus Ceol / Irish World Academy of Music & Dance •
[¶ 1] RÉSUMÉ:
TRAINING: Illo Humphrey, Ph. D.-HDR, perfectly trilingual (French-English-German), is a Mediævalist,
Musicologist, Proto-Philologist, Concert-Baritone, trilingual simultaneous Interpreter. During his 20 years of
training as mediævalist between 1984 and 2004 at the prestigious École Pratique des Hautes Études IVth Section-
Sorbonne, at the Universities of Paris IV-Sorbonne, Paris I-Panthéon-Sorbonne, Paris X-Nanterre, and, as
auditeur-libre from 1990 to 1994, at the École nationale des chartes-Sorbonne, Illo was privileged to study under
the following professors, namely: Michel Huglo, Jean Vezin, François Dolbeau, Guy Beaujouan, Brigitte
Mondrain, Édith Weber, Olivier Guyotjeannin, Emmanuel Poulle, Pascale Bourgain, and Iégor Reznikoff, all of
whom renowned masters in their respective fields of study and research. Today, Illo is one of the foremost
specialists on the Philosopher Anicius Manlius Torquatus Severinus Boethius (*Rome, ca. 480 - †Pavia, ca. 524), in
Boethian cognate studies, and in Mediæval Studies in general: http://www.colloquiaaquitana.com/?page_id=754
https://wn.com/illohumphreyhttps://u-bordeaux3.academia.edu/IlloHumphrey/Illo's-Television-Lecture-on-Boethius
2] UNIVERSITÉ BORDEAUX MONTAIGNE: On October 23, 2015, Illo was elected Associate Researcher in
the Research Team EA 4593 CLARE (Cultures – Littératures – Arts – Représentations – Esthétiques) – and in the
Research Laboratory LaPRIL (Laboratoire Pluridisciplinaire de Recherches sur lImaginaire appliquées à
la Littérature) at the University of Bordeaux Montaigne in Bordeaux-Pessac, France. Illo is also a Fellow
and Board Member of ICONEA at the Faculty of Oriental Studies, University of Oxford:
http://www.iconea.org/?p=444, a Fellow and Member of the Université Populaire Méroë-Africa (Paris, France) and
of the CERDOTOLA (Centre International de Recherche et de Documentation sur les Traditions et les Langues
Africaines, Yaoundé, République du Cameroun): http://www.universitepopulairemeroeafrica.org/Illo-Humphrey, as
well as a Postgraduate Academic Supervisor & Tutor for Postgraduate Support Ltd., London (UK):
http://postgraduatesupport.com/academics/. Illo is member of Academia.edu: https://u-bordeaux3.academia.edu/IlloHumphrey, of
ResearchGate: https://www.researchgate.net/profile/Illo_Humphrey, of and ORCID: http://orcid.org/0000-0002-1130-0397
3] HABILITATION: In 2014, Illo earned, summa cum laude, his Habilitation to Direct Doctoral and Post-
Doctoral Research (HDR) in the Philosophy of Music, Ancient and Mediæval Musicology from the University of
Paris X-Nanterre (UFR PHILLIA) | HDR Thesis title: Autour de Boèce: Genèse musicale et arithmétique de
l’âme | (English): On Boethius: Genesis of the Soul-Consciousness, its musical and mathematical Implications).
Illo’s HDR Director: Pr. Iégor Reznikoff (http://corail.sudoc.abes.fr//DB=2.1/SET=1/TTL=11/SHW?FRST=13) •
4] PH. D.: In 2004, Illo earned his Ph. D., summa cum laude, in Philosophy and Epistemology from the
University of Paris X-Nanterre (UFR de Philosophie) | Thesis title (French): Le De arithmetica et le De musica
de Boèce dans l’enseignement scientifique et philosophique du Haut Moyen âge entre 814 et 877) | (English):
Boethius (Rome, 480 [?] –†Pavia, 524): De institutione arithmetica and De institutione musica. A Study on the
influence of the scientific-philosophical teachings of Boethius in the 9th century between 814 et 877). Illo’s Ph.
D. Director: Pr. Iégor Reznikoff (http://corail.sudoc.abes.fr/DB=2.1/SET=1/TTL=12/SHW?FRST=14
http://www.ams-net.org/ddm/fullResult.php?id=1911 http://www.theses.fr/075526573)
[¶ 5] Illo’s Area of Specialization:
• Illo specializes in particular in the philosophy of the sevenfold canon of the Liberal Arts (in Greek: αἱ
ἐλευθέριοι τέχναι [ai eleuthéroi téchnai], in Latin: artes liberales), which are divided into two distinct
categories:
(a) Quadruvium [sic]: ars arithmetica, ars musica, ars geometrica, ars astronomica
(b) Trivium: ars grammatica, ars dialectica | ars logica, ars rhetorica
[¶ 6] Indeed, concerning this very important concept both ancient and modern, it must be born in mind that the
role and function of the Liberal Arts is in fact fundamentally humanitarian, that is to say the Liberal Arts exist in
order to ensure the protection and safeguard of the tangible and intangible cultural heritage of humanity in all its
variety and diversity:
http://wn.com/illohumphreyhttps://u-bordeaux3.academia.edu/IlloHumphrey/Illo's-Television-Lecture-on-Boethius
[¶ 7] Illo specializes in the philosophy of general culture (ἡ παιδεία [Paideia]), in the scientific-philosophical
Tradition of Knowledge (Epistemology) from Plato (†347 BCE) to Boethius (*Rome, ca. 480-†Pavia, ca. 524),
from Boethius to Marsilio Ficino (*Figline Valdarno, 1433-†Carregi, 1499), and from Marsilio Ficino to Howard
Gardner (*Scranton, Pa., 1943-), co-Founder with the late Norman Goodman and Director of Project Zero.
Consequently, Illo is a specialist of the history and development of the European University (primitively known in
the 11th and 12th centuries as: studium generale” | studia generalia”, and in the 13th century as: universitas
magistrorum atque scholarium vel discipulorum”); cf. Illo Humphrey, Boethius. His Influence on the
European Unity of Culture: from Alcuin of York (†804) to Thierry of Chartres (†1154), Traugott Bautz Verlag
(Nordhausen, Germany), 237 pages, 2010 | 2012, p. 46 (note 13); see full text, here: https://u-
bordeaux3.academia.edu/IlloHumphrey/Books
ILLO HUMPHREY, PH. D.-HDR - 27 -
• Lecture | Carolingian Liberal Arts & Humanities: pages 1-22 | IWA1-08 – 10:30 a.m. | 19-VII-2016 •
• Concert
a cappella
: PRE-“GREGORIAN & “GREGORIAN CHANT: pages 23-24 | IWA-Theatre 1 – 12:05 p.m. | 19-VII-2016
• Ollscoil Luimnigh / University of Limerick |mh Chruinne Éireann Rince agus Ceol / Irish World Academy of Music & Dance •
[¶ 8] Cultural Heritage & Diversity | Founder of La B.I.R.E. | Founder of Colloquia Aquitana:
Illo also specializes, and actively participates in the Protection and Safeguard of the tangible and
intangible cultural Heritage of Humanity, and in the Protection and Promotion of the expressions of
cultural Diversity of Humanity, according to the 40 articles established and adopted by the UNESCO
convention in Paris on the 17th of October, 2003: http://www.unesco.org/culture/ich/fr/convention, and
according to the 35 articles established and adopted by the UNESCO convention in Paris on the 20th of
October, 2005: http://unesdoc.unesco.org/images/0022/002253/225383F.pdf. In this perspective, Illo is (a) a
member of the Tombouctou Manuscripts Project: http://www.tombouctoumanuscripts.org/fr/, (b) the
Director & Founder of La B.I.R.E. (Bibliothèque Interdisciplinaire de Recherche Européenne):
http://www.colloquiaaquitana.com/?page_id=3, (c) the Director & Founderor the Colloquia Aquitana:
http://www.colloquiaaquitana.com/?page_id=4
[¶ 9] Fundamental Research Interests | Publications:
(1) Philosophy of the Cognitive Process (”ἡ τῆς ψυχῆς γένεσις” | genesis of the soul-consciousness |
cognition),
(2) Philosophy of Numbers and Proportions (”ἡ τοῦ ἀριθμοὺ οὐσία” | essence of number),
(3) Philosophy of Music and musical sounds (in Greek: ϕθόγγος, -ου | ϕθογγή, -ῆς | in Latin:
phthongosvoxsonustonus), musical intervals, that is to say the Regime of the Octave),
(4) Proto-Philology (ecdotique science of non-normative critical editions: including textual and scribal errors,
punctuation, glosses, diacritical signs, cross-reference signs: notae sententiarum, sténographie latine: tironian
notes, and respecting as far as possible the text layout of the original manuscript sources),
(5) Cognitive Hygiene, that is to say the wise management of knowledge and ignorance; all of which are closely
interrelated •
[¶ 10 Illo is the author of 7 major scholarly books (the most recent of which is forthcoming on the philosopher
Boethius in 3 volumes), 1 DVD Lecture on Boethius and the origin of the mediæval university:
http://wn.com/illohumphrey, as well as numerous scholarly articles on the Boethius, on Boethian related studies,
on the Liberal arts, and on mediæval studies in general, etc. •
[¶ 11] Illo's scholarly publications may be consulted in the finest libraries, museums, and research centres, as
well as on the finest databases and meta-databases, worldwide •
http://www.colloquiaaquitana.com/?page_id=754 https://www.researchgate.net/profile/Illo_Humphrey
https://u-bordeaux3.academia.edu/IlloHumphrey/Books https://u-bordeaux3.academia.edu/IlloHumphrey/Papers
http://www.sudoc.abes.fr/DB=2.1/SET=1/TTL=11/NXT?FRST=1 http://www.sudoc.abes.fr/DB=2.1/SET=1/TTL=1/NXT?FRST=11
http://oskicat.berkeley.edu/search https://searchworks.stanford.edu/?utf8=%E2%9C%93&search_field=search_author&q=humphrey%2C+illo
http://hollis.harvard.edu/primo_library/libweb/action/search.do?vid=HVD
http://opac.regesta-imperii.de/lang_en/autoren.php?name=Humphrey%2C+Illo
http://catalog.loc.gov/cgi-
bin/Pwebrecon.cgi?DB=local&Search_Arg=illo+humphrey&Search_Code=GKEY%5E*&CNT=100&hist=1&type=quick
[¶ 12] Concert-Baritone | Duo Vox Nova:
Illo is also a distinguished musician and virtuoso Concert-Baritone, co-founder of Duo Vox Nova with his
colleague Claudine Pascal-Grisi, Concert-Organist. Duo Vox Nova, has to its credit more than 1500 concerts and
10 Seminar-Master Classes, specializes in the sacred-liturgical repertoire, for voice and organ, including Pre-
“Gregorian” and “Gregorian” Chant, as of the 4th century through the 21st century:
https://u-bordeaux3.academia.edu/IlloHumphrey/Concerts-Duo-Vox-Nova
[¶ 13] Trilingual simultaneous Interpreter (French – English – German):
• Illo is as well a seasoned and virtuoso trilingual pluridisciplinary simultaneous Interpreter (French A – English
A – German C), with 21 years of international experience to his credit:
https://u-bordeaux3.academia.edu/IlloHumphrey/Interpr%C3%A8te-simultan%C3%A9
https://u-bordeaux3.academia.edu/IlloHumphrey/Simultaneous-Interpreter
https://u-bordeaux3.academia.edu/IlloHumphrey/Dolmetscher
[¶ 14] Latin Stenography (Tironian Notes):
• Illo is one of today’s leading experts in Latin Stenography (Tironian Notes), with to his credit 30 years, that is
to say approximately 45 000 hours, of assiduous scholarly research, publications, and practice in this field:
https://u-bordeaux3.academia.edu/IlloHumphrey/Tironian-Notes | https://u-bordeaux3.academia.edu/IlloHumphrey/Notes-Tironiennes
Appendix:
... /...
ILLO HUMPHREY, PH. D.-HDR - 28 -
• Lecture | Carolingian Liberal Arts & Humanities: pages 1-22 | IWA1-08 – 10:30 a.m. | 19-VII-2016 •
• Concert
a cappella
: PRE-“GREGORIAN & “GREGORIAN CHANT: pages 23-24 | IWA-Theatre 1 – 12:05 p.m. | 19-VII-2016
• Ollscoil Luimnigh / University of Limerick |mh Chruinne Éireann Rince agus Ceol / Irish World Academy of Music & Dance •
ILLO HUMPHREY | PH. D. | HDR
MEDIÆVALIST | MUSICOLOGIST | PROTO-PHILOLOGIST | CONCERT-BARITONE
ILLOS EXTRA-CURRICULAR TRAINING IN MEDIÆVAL MUSICOLOGY
1. Fondation Royaumont | 150 Hours of Training:
10 Study Sessions on Mediæval Music in the school year of 1984-1985
Programme:Gregorian” Chant | École de Notre Dame | Musical Notation: 14th and 15th centuries
150 hours of training spread out over 10 weekends | Direction: Michel Huglo, Marie-Noëlle Colette, Marcel Pérès
Organized by A.R.I.M.M.: Association pour la Recherche et l’Interprétation des Musiques Médiévales
http://royaumont.com/fondation_abbaye/contacts.106.0.html
2. Abbaye cistercienne de Sénanque | 124 Hours of Training:
Programme:Gregorian” Chant | Repertoire of the Mass | Liturgy | Musical Palæography | Musical Semiology
23 days of seminars in 3 Sessions | 1977-1978 | 124 hours of training
Organized by the C.E.G.M.T.B.M. | Direction: Dom Jean Claire, Dom Eugène Cardine, Pr. Clément Morin
(Centre d’Études Grégoriennes et de Musiques Traditionnelles du Bassin Méditerranéen)
Address: Abbaye cistercienne de Sénanque, 84229 Gordes
3. Institut de Musique liturgique (ICP) | 30 Hours of Course Work:
Programme:Gregorian” Chant | Repertoire of the Mass | Liturgy | Musical Palæography | Musical Semiology
Institut catholique de Paris | 24, rue Cassette | 75006 Paris | 1976-1977 | Direction : Pr. Jean Bihan
4. Yves Cabourdin | Organ Builder | 320 Hours of Training:
In the Workshop of Yves Cabourdin, Organ Builder | 398, chemin des Riaux | 83570 Carcès | France
Tel. (Var): 04 94 59 96 69 | Tel. (Bourgogne): 03 85 26 67 21 | Tel. (Cell): 06 73 00 69 63
2 months of training in the art of organ building | 320 Hours | October - November 1977
http://www.orgues-cabourdin.fr/orgues-cabourdin.fr/index.html.html
N
NN
Nota bene:
ILLOS SUPPLEMENTARY TRAINING IN MEDIÆVAL MUSICOLOGY
[1] ABBAYE BÉNÉDICTINE SAINT-PIERRE DE SOLESMES | 72300 SABLÉ-SUR-SARTHE | FRANCE
178 Hours of training in “Gregorian” Chant, Liturgy, Musical Palæography at the Benedictine
Abbey of Solesmes, 72300 Sablé-sur-Sarthe (1976-1988): under the direction of Dom Jean Claire (2006:
http://www.musimem.com/dom_jean_claire.htm)
[2] BIBLIOTHÈQUE-MÉDIOTHÈQUE DE TROYES | 10000 AUBE | FRANCE 1 Day of training at the B-
M of Troyes: December 3, 2003, at the occasion of the Exhibition: Moyen âge en Musique
[3] UNIVERSITÉ DE PARIS IV-SORBONNE Since 2003-2004, Illo is a Member the Research Team
Patrimoines musicaux du Moyen âge au XVIIe siècle at the Sorbonne | Dir.: Pr. Frédéric Billiet
[4] 3 Days of Training at the Cité de la Musique (Paris La Villette) April 2 & 3, and May 21,
2004, with the Research Team Patrimoines musicaux de Paris IV-Sorbonne, at the Colloquium:
Représentations de la musique au Moyen âge, and the Exhibition Moyen âge entre ordre et désordre,
followed by a guided visit of the Exhibition by Dr. Isabelle Marchesin, Mediævalist-Art Historian
Π – π = ἡ πρακτική, τῆς πρακτικῆς • Θ – θ = ἡ θεωρητική, τῆς θεωρητικῆς
cf. Boethii Consolatio Philosophiæ, I, Prosa, 1: ed. R. Peiper, p. 4 • Cassiodori Institutiones, II, III, 4: ed. R. Mynors, p. 110
ILLO HUMPHREY, PH. D.-HDR - 29 -
• Lecture | Carolingian Liberal Arts & Humanities: pages 1-22 | IWA1-08 – 10:30 a.m. | 19-VII-2016 •
• Concert
a cappella
: PRE-“GREGORIAN & “GREGORIAN CHANT: pages 23-24 | IWA-Theatre 1 – 12:05 p.m. | 19-VII-2016
• Ollscoil Luimnigh / University of Limerick |mh Chruinne Éireann Rince agus Ceol / Irish World Academy of Music & Dance •
Illo Humphrey, Ph. D. | HDR
Mediævalist | Musicologist | Proto-Phologist | Concert-Baritone
https://u-bordeaux3.academia.edu/IlloHumphrey
http://www.iconea.org/?p=444
Illo’s 5 Lectures on Mediaeval & Renaissance Musicology
Presented at the Université de Paris IV – Sorbonne | U.F.R. de Musique et de Musicologie
School Year: 1984-1985
illo.humphrey@free.fr illohumphrey01@gmail.com
~ • ~
1] Analyse d’une chanson monodique de Gaucelm Faidit (v. 1195) :
« Lo rossinholet salvage »
- Analyse littéraire (langue • procédés rhétoriques • métrique) •
- Analyse mélodique (aspect modal • ambitus principia • intervalles • ornementation) •
- Structure (rapport texte-mélodie) •
(27 novembre 1984 : dans le cadre du cours « Lyrique romane »)
2] Analyse d’un motet à 4 voix de John Dunstable (1400-1453) :
« Gaude virgo salutata »
- Identification du genre polyphonique •
- Identification et cadre liturgiques •
- Structure et analyse littéraires et métriques •
- Traduction française du texte latin •
- Identification du cantus firmus
- Structure et analyse musicales •
- Structure et analyse rythmiques •
(12 mars 1985 : dans le cadre du cours « Polyphonie XVe s. »)
3] Contrepoint du Motet « Franco-Flamand » et l’origine de la « Chanson parisienne » :
- Olivier Basselin (1400-1450) « Vaux de Vire »
« Voix de Ville »
« Vaudeville » •
- Josquin des Prés (1440-1521) : Missa Pange lingua gloriosi
- Odhecaton (recueil de « Motets-Chansons » franco-flamands) •
- Chansonnier de 1528-1529 (publié par l’imprimeur Pierre Atteignant : 1494-1552) •
- Claudin de Sermisy (« Vous perdez temps ») • Clément Janequin (« Toutes les nuits ») •
- Pierre Certon (« La, la, la, je ne l’ose dire ») • Guillaume Costeley (« Mignonne ») • etc.1
- Perspective historique •
- Répertoire •
(28 mars 1985 : dans le cadre du cours de « La Chanson parisienne »)
4] « La Chanson parisienne. Problèmes de style et terminologie » :
- Article de Lawrence Bernstein, paru dans J.A.M.S., 1978 (été), p. 193-240 •
- Résumé de synthèse et traduction intégrale dudit article par Illo Humphrey •
- Exposé destiné aux étudiants en licence • capes • agrégation •
(décembre 1984 : dans le cadre du cours « La Chanson parisienne »)
5] Analyse d’un « Motet-Chanson » à 4 voix de Josquin des Prés (1440-1521) :
« Mille regretz »
- Analyse littéraire •
- Genre complainte d’amour •
- Analyse modale et musicale (intervalles • ambitus • polyphponie) •
- Rapport texte-musique (figuralismeredicta etc.) •
- Cadences (à double sensible) •
(13 mai 1985 : dans le cadre du cours de « Musique de la Renaissance »)2
___________________________________________________________________________________________________________________
(1) Étant membre de l’Ensemble Philippe Caillard entre 1972 et 1977, Illo Humphrey chanta ce répertoire dans de nombreux concerts.
(2) Illo Humphrey effectua de nombreuses transcriptions de partitions d’époque dans le cadre des cours de :
Musique médiévale (Paléographie musicale XIIIe-XIVe s.) : Pr. Dr. Édith Weber
Musique de la Renaissance (Paléographie musicale XVe s.) : Pr. Dr. Bernard Gagnepain
ILLO HUMPHREY, PH. D.-HDR - 30 -
• Lecture | Carolingian Liberal Arts & Humanities: pages 1-22 | IWA1-08 – 10:30 a.m. | 19-VII-2016 •
• Concert
a cappella
: PRE-“GREGORIAN & “GREGORIAN CHANT: pages 23-24 | IWA-Theatre 1 – 12:05 p.m. | 19-VII-2016
• Ollscoil Luimnigh / University of Limerick |mh Chruinne Éireann Rince agus Ceol / Irish World Academy of Music & Dance •
CHRONOLOGY OF ILLOS ACADEMIC & PROFESSIONAL DATA
ILLOS DEGREES & DIPLOMAS (GRADUATE RESEARCH ON THE PHILOSOPHER BOETHIUS CA. 524)
ILLOS HABILITATION TO DIRECT RESEARCH (HDR):
2014 | HDR: On Monday, June 23rd, 2014, Illo obtained with the highest distinction, summa cum laude, his Habilitation to direct doctoral
and post-doctoral research at the Université de Paris X – Nanterre under the direction of Pr. Iégor Reznikoff. This fundamental research on
the musical and mathematical aspects of the cognitive process is entitled: Autour de Boèce. Genèse musicale et arithmétique de l’âme (On Boethius. The
Genesis of the Soul-Consciousness, its musical and mathematical Implications): http://corail.sudoc.abes.fr//DB=2.1/SET=1/TTL=11/SHW?FRST=13
ILLOS QUALIFICATIONS:
2003 | 2007: Illo received his qualifications as University Lecturer in the field of Mediæval Musicology (Section 18 of the Conseil
National des Universités in France): https://www.legifrance.gouv.fr/affichTexte.do?cidTexte=JORFTEXT000000794900
2004 | PH. D.: On Friday, March 26th, 2004, Illo obtained with the highest distinction, summa cum laude, his Ph. D. from the Université
de Paris X–Nanterre, in Philosophy, Epistemology (ars arithmetica ars musica), History of Science & Technique, under the direction of Pr.
Iégor Reznikoff Jury: Frédéric Billiet (Paris IV-Sorbonne) Michel Huglo (CNRS) Barbara Haggh (University of Maryland) Iégor
Reznikoff (UPX-Nanterre): http://corail.sudoc.abes.fr/DB=2.1/SET=1/TTL=12/SHW?FRST=14 http://www.ams-
net.org/ddm/fullResult.php?id=1911http://www.theses.fr/075526573
1994: Master of Arts Degree I (Élève diplômé) in Musicology & Mediæval Studies | École Pratique des Hautes Études IVth
Section-Sorbonne
1994: Master of Arts Degree II (D.E.A.: Diplôme d’Études Approfondies) in Mediæval History | Université de Paris I –
Panthéon-Sorbonne
1990 – 1994: Certificate in Mediæval Studies (Latin-Archivistics-Palaeography-Codicology) | École nationale des chartes-
Sorbonne
1986: Deutsches Sprachdiplom | Goethe Institut | Paris – Iéna
1985: 3 Certificates in Musicology: Mediaeval – Renaissance – 20th Century | Université de Paris IV–Sorbonne
1977: Diplôme du Professorat | Alliance Française | Paris – Raspail
1976: 2e Prix de Chant, Conservatoire national de Région de Nice | France
1968 | 1999: Bachelor of Arts in Music and Theology | Oakwood University | Huntsville | Alabama | USA
ILLOS LITURGICAL CANTOR & CONCERT-BARITONE ACTIVITIES | SACRED LITURGICAL REPERTOIRE:
1970–1976: Soloist and Choir member at the American Episcopal Cathedral of Paris (23, avenue George V)
1972–1976: Soloist and Choir member of the Ensemble Vocal Philippe Caillard | Paris
1974–1980: Soloist-Chanter at the Anglican Church of the Holy Trinity in Nice | France
1977–1980: Soloist-Chanter in, and Co-Founder of the Gregorian Choir of Nice | Direction: Anahit Fontana-Morillas | France
1976–1977: Soloist-Chanter in the Gregorian Choir of Paris | Direction: André Madrignac & François Polgár
1974–2016: Duo Vox Nova Claudine Pascal-Grisi, Concert-Organist | Illo Humphrey, Concert-Baritone:
Guests Artists at the 1st International Orrett Rhoden Music Festival of Jamaica | January-February 2012
ILLOS LANGUAGE SKILLS: SIMULTANEOUS INTERPRETER (FRENCH ENGLISH GERMAN):
Trilingual simultaneous interpreter, translator for the French NGO CCFD-Terre Solidaire (Paris): 1995-2007
Bilingual simultaneous interpreter for the General Conference of Seventh-Day Adventists (USA): 2008-2014
ILLOS SCHOLARLY PEDAGOGICAL SYMPOSIUM DIRECTION & PUBLICATION ACTIVITIES:
• 1998: Visiting Research Fellow, Oxford University (All Souls College, Faculty of Music-Saint Aldate’s)
• 2004: Visiting Professor, directing Seminar “The Regime of the Octave”, Ionian University Faculty of Music, Corfu, Greece
• 2005: Director-Founder of the Colloquia Aquitana (annual international symposium on mediæval studies), Duras, France
• 2005: Invited Lecturer: La philosophie de l’image carolingienne, Université François-Rabelais de Tours, France: July 13-16
• 2006: Director-Founder of La B.I.R.E. (Bibliothèque Interdisciplinaire de Recherche Européenne), Duras, France, 2006
• 2005: Director: Colloquia Aquitana I-2005 Études médiévales : patrimoine matériel et immatériel, Paris (Éd. Le Manuscrit), 2006
• 2006: Director: Colloquia Aquitana II-2006 Boèce Boethius : l’homme, le philosophe, le scientifiques, Paris (Éd. Le Manuscrit), 2009
• 2007: Director: Colloquia Aquitana III-2007 Papyrus, parchemin, papier : origines, fabrication, utilisations, in preparation
• 2008: Director: Colloquia Aquitana IV-2008 Singularités occitanes : langue, culture, civilisation, in preparation
• 2005-2007: Scientific Director: Mediæval Museum Conservatorium of Parchment and Illumination, Duras, France
• 2006: Invited Lecturer: Les 12 divisions de l’as chez Calcidius et Boèce | Western Michigan University, Kalamazoo
• 2008: Invited Lecturer: Boethius and the Cognitive Process | Western Michigan University, Kalamazoo
2008: Invited Lecturer on the Serments de Strasbourg (Oaths of Strasburg) | Alliance Française of Nashville, Tennessee
2010: Invited Lecturer: Boethius, the Liberal Arts, and the origin of the mediaeval university | University of Central Florida, Orlando
2010: Invited Lecturer on Boethius, the Liberal Arts, and the origin of the mediaeval university | Orange TV | Orlando, Florida
2012: Invited Lecturers Duo Vox Nova | French Sacred Music:Organ and Solo Voice | Northern Caribbean University, Jamaica
2012: Invited Lecturer on the Serments de Strasbourg (Oaths of Strasburg) | Alliance Française of Kingston | Jamaica, W.I.
2016-2017: Invited Lecturer on Tironian Notes | University of Chicago (Neubauer Collegium) | Classics Department
ILLOS MEMBERSHIPS IN LEARNED SOCIETIES: Academia.edu Webponder.com International Boethius Society
Medieval Academy of America ASDAL SACEM SACD APEMUTAM Musicologie Médiévale (Gregorian-
Chant.ning.com) ACEOC • Association Vox Nova • La B.I.R.E. • Colloquia Aquitana • ADPC • CNFHPS
ILLO HUMPHREY, PH. D.-HDR - 31 -
• Lecture | Carolingian Liberal Arts & Humanities: pages 1-22 | IWA1-08 – 10:30 a.m. | 19-VII-2016 •
• Concert
a cappella
: PRE-“GREGORIAN & “GREGORIAN CHANT: pages 23-24 | IWA-Theatre 1 – 12:05 p.m. | 19-VII-2016
• Ollscoil Luimnigh / University of Limerick |mh Chruinne Éireann Rince agus Ceol / Irish World Academy of Music & Dance •
• ILLO’S 5 OUTSTANDING ACCOMPLISHMENTS IN MEDIÆVAL STUDIES •
Illo's 5 Outstanding Accomplishments | Innovations | New Methodologies
in the Realm of Interdisciplinary Mediæval Studies:
[1] T
TT
TIRONIAN N
NN
NOTES (LATIN STENOGRAPHY): Illo, as of the 27th of November 1993 at precisely 2:49 p.m.,
distinguished himself as one of today’s foremost authorities in the field of Latin Stenography, that is to say Tironian
Notes (Latin: notae, notae Ciceronis, notae Senecae, notae tironianae). On that day, Illo completed manually the integral
critical transcription and facsimile of the only known complete Psalter written entirely in Latin Stenography: Paris,
BnF nouvelles acquisitions latines 442, 9th c., 98 folios (196 pages); cf. Colloquia Aquitana I 2005. Études médiévales:
Patrimoine matériel et immatériel, (Actes du colloque tenu à Duras, France - 47120, 5-6 août, 2005), ISBN: 2-7481-4750-2,
Paris (Éditions Le Manuscrit), 2006; cf. Illo Humphrey, "La sténographie latine (notes dites "tironiennes"), état de la
question (histoire et tradition manuscrite, transcription et édition critique, pratique)", p. 99-152: https://u-
bordeaux3.academia.edu/IlloHumphrey/Tironian-Notes
[2] P
PP
PROTO-P
PP
PHILOLOGY: Illo, as of the 20th of March 1994 at precisely 10:30 a.m., distinguished himself, in
creating an entirely new branche of philology, namely the discipline of “Proto-Philology”, term which he himself
invented. Proto-Philology may be defined as a non-normative critical edition method, which repsects the original
layout found in the manuscript source of both text and glosses, as well as the original spelling, scribal errors,
punctuation, the Latin Stenography present in the 9th-century glosses of Carolingian manuscripts (better known as
tironian notes), as well as the notæ sententiarum (that is to say the cross-reference signs, omission signs, correction
signs, ancient diacritical signs, cf. Isidori Hispalensis Etymologiae I,21: Notæ sententiarum). On this day, for his 4-volume
dissertation, based on a 9th-century copy of the Boethii De institutione musica libri quinque (text and glosses), en
l’occurrence Paris, BnF, Fonds latin 7200, in which Illo elaborated the new method of Proto-Philology, Illo was
awarded a Master of Arts degree (summa cum laude) in Mediaeval Musicology and Mediæval Studies, from the
prestigious École Pratique des Hautes Études IVth Section at the Sorbonne; cf. Illo's Selected Bibliography: Boethius.
His Influence on the European Unity of Culture: from Alcuin of York (804) to Thierry of Chartres (1154), 237 pages,
Nordhausen, Germany (Bautz Verlag GmbH), 2nd edition 2012, ISBN: 978-3-88309-603-2; cf. Ch. 5, p. 106-112:
https://u-bordeaux3.academia.edu/IlloHumphrey/Books http://bautz.de/neuerscheinungen-2010/9783883096032.html
[3] B
BB
BOETHIAN G
GG
GLOSSES: Thanks to his unparalleled mastery of Latin Stenography (tironian notes), and of cross-
reference signs (notæ sententiarum) conserved in the 9th-century glosses of the Boethian manuscripts, Illo's very
precise proto-philological research method has shown unequivocally that it was Boethius himself who first
commented and glossed his own treatise De institutione arithmetica libri duo. This outstanding proto-phiological
research represents indeed a major breakthrough in the realm of mediaeval ecdotic studies, that is to say studies in
non-normative critical editions; cf. Illo's Selected Bibliography: "Boethii De institutione arithmetica libri duo: Étude
proto-philologique, dans 5 manuscrits du IXe siècle: Paris, Bibliothèque nationale de France, latins 14 064, 7183, 13009,
n.a.l. 1614, latin 6639", in Carmina Philosophiæ (Journal of the International Boethius Society), n° 14, 2005, p. 57 - 158,
ISSN: # 1075-4407: https://u-bordeaux3.academia.edu/IlloHumphrey/Papers
[4] THE R
RR
REGIME OF THE O
OO
OCTAVE: Illo, as of the 26th of March, 2004 at precisely 1:30 p.m., Illo earned his Ph. D.
from the Univesity of Paris X-Nanterre, and distinguished himsef as of that day as one of today’s leading specialists
on the fundamental concept of the O
OO
Octave R
RR
Regime, demonstrating that the origin of all musical sounds and intervals
(Latin: continua proportio superparticularis), is non other than the perfect octave itself. On this day, Illo was awarded
his Ph. D. degree, summa cum laude, in Philosophy, Epistemology, History of Sciences & Technologies from the
University of Paris X-Nanterre. The entire chapter 11 of Illo’s Ph. D. Dissertation is a detailed study and analysis of Le
Régime de l’Octave ; see article of the same title: https://u-bordeaux3.academia.edu/IlloHumphrey/Papers
[5] C
CC
CAROLINGIAN ICONOGRAPHY: Illo, as of the 26th of March, 2004 at precisely 1:30 p.m., distinguished
himself for having elaborated a new method of image analysis, which he calls the Philosophy of the Carolingian
iconography, based in part on Boethian teachings of ars arithmetica and ars musica; cf. "La philosophie de l'image dans
la pratique iconographique carolingienne (quelques observations sur la pratique iconographique en Neustrie au IXe
siècle): l'exemple du scriptiorium de Saint-Martin de Tours entre 830 et 851", MedRen Music Conference, 13-16-VII-
2005, 45 pages, 10 Plates; University François-Rabelais of Tours (37000 France), 2005 ; cf. Illo Humphrey (ed.),
Colloquia Aquitana 2006 Boèce ([Boethius])…, Vol. 1, Paris, 2009, Ch. 3 : p. p. 279-302 (Notes : p. 302-313) :
http://ricercar.cesr.univ-tours.fr/archives_actualite/medren/Papers/Humphrey.pdf https://u-
bordeaux3.academia.edu/IlloHumphrey/Papers
ILLO HUMPHREY, PH. D.-HDR - 32 -
• Lecture | Carolingian Liberal Arts & Humanities: pages 1-22 | IWA1-08 – 10:30 a.m. | 19-VII-2016 •
• Concert
a cappella
: PRE-“GREGORIAN & “GREGORIAN CHANT: pages 23-24 | IWA-Theatre 1 – 12:05 p.m. | 19-VII-2016
• Ollscoil Luimnigh / University of Limerick |mh Chruinne Éireann Rince agus Ceol / Irish World Academy of Music & Dance •
ILLO HUMPHREY PH. D. | HDR
SELECTED INTERDISCIPLINARY SCHOLARLY BIBLIOGRAPHY
https://u-bordeaux3.academia.edu/IlloHumphrey • http://orcid.org/0000-0002-1130-0397
• https://www.researchgate.net/profile/Illo_Humphrey/publications
SELECTED BIBLIOGRAPHY (1)
Palæography | Latin Stenography (Tironian Notes) | Notæ Sentenciarum
(1) HUMPHREY (Illo), « Trois homélies attribuées à Heiric, moine de Saint-Germain d’Auxerre. Leur écriture en notes
tironiennes. Bamberg Staastsbibliothek », dans Bulletin de la Société des Fouilles Archéologiques et des Monuments Historiques de l'Yonne, n° 13,
année 1996, p. 25-46 (11 planches hors-texte) : https://u-bordeaux3.academia.edu/IlloHumphrey/Papers
(2) HUMPHREY (Illo), “La sténographie latine (notes dites “tironiennes”), état de la question (histoire et tradition manuscrite,
transcription et édition critique, pratique)”, in Colloquia Aquitana I – 2005. Études médiévales : Patrimoine matériel et immatériel,
(Symposium Proceedings, Duras, France – 47120, August 5-6, 2005), Illo Humphrey (ed.), Paris (Éditions Le Manuscrit), ISBN : 2-
7481-4750-2, 2006, p. 99-152 : https://u-bordeaux3.academia.edu/IlloHumphrey/Bookshttp://orcid.org/0000-0002-1130-0397
(3) HUMPHREY (Illo), Boethius De institutione arithmetica libri duo. Édition proto-philologique intégrale princeps d’un manuscrit du IXe siècle
(Paris, B. n. F., latin 14064), texte, gloses, notes tironiennes, signes de renvoi, 265 pages, 7 plates, Glossaries, Indices ; Institute of Medieval
Music, Musicological Studies Vol. LXXXVI, Ottawa, Canada, ISBN 978-1-896926-90-2, 2007, cf. p. 203-230 : https://u-
bordeaux3.academia.edu/IlloHumphrey/Bookshttp://orcid.org/0000-0002-1130-0397
(4) HUMPHREY (Illo), “Boethii De institutione arithmetica libri duo: Étude proto-philologique”, in Carmina Philosophiae Volume 14,
2005, ©International Boethius Society, ISSN#1075-4407, p. 57-158, cf. critical Glossary of the glosses in tironian notes, p. 93-110 :
https://u-bordeaux3.academia.edu/IlloHumphrey/Papers https://www.researchgate.net/profile/Illo_Humphrey/publications
(5) HUMPHREY (Illo), Boethius. His Influence on the European Unity of Culture: from Alcuin of York (804) to Thierry of Chartres
(1154): Nordhausen, Germany (Traugott Bautz Verlag), 20122, ISBN: 978-3-88309-603-2, 237 pages, Bibliography, Catalogue of
the 128 cited Manuscripts, Glossary, Index; cf. Introduction: p. 15, Ch. 5 : p. 104-105 : https://u-
bordeaux3.academia.edu/IlloHumphrey/Bookshttps://www.researchgate.net/profile/Illo_Humphrey/publications
SELECTED BIBLIOGRAPHY (2)
Musicology
(1) HUMPHREY (Illo), « L ‘Hymne des Vigiles : ‘Te Deum laudamus ’. Une étape importante dans l’histoire de la musique liturgique
latine », in Cahiers du centre de recherches musicologiques de l’Université Lumière-Lyon 2: Itinéraires de la musique française, Anne Penesco (éd.),
Lyon, 1996, pp. 15-50 (12 Plates) | ISBN: 2-7297-0538-4 | EAN: 9782729705381 : https://u-
bordeaux3.academia.edu/IlloHumphrey/Papers https://www.researchgate.net/profile/Illo_Humphrey/publications
(2) HUMPHREY (Illo), « Le cantus firmus et la mélodie du Te Deum laudamus’ dans un fragment du ms. Cambridge, Gonville et
Caius College, 334.727 (XIVe s. but) », in Itinéraires du Cantus Firmus VII, Université de Paris IV-Sorbonne, 22, 23 avril 1998,
Professeure émérite Edith Weber (ed.), Paris (Presses de l’Universitaire Paris-Sorbonne), septembre 2004, p. 21-34 | ISBN : 2-
84050-331-X : https://u-bordeaux3.academia.edu/IlloHumphrey/Talks
(3) HUMPHREY (Illo), Compte rendu : « Boethii De institutione musica libri quinque : auctor, opus, interpres » (Review essay), dans
Carmina Philosophiae International Boethius Society : ISSN#1075-4407) 14, 2005, p. 167 – 175 : cf. versions française et
anglaise : https://u-bordeaux3.academia.edu/IlloHumphrey/Papershttps://www.researchgate.net/profile/Illo_Humphrey/publications
(4) HUMPHREY (Illo), « Le Régime de l'Octave : Principe fondamental de raisonnement arithmétique et musical chez Πλάτων,
chez Νικόµαχος Γερασηνός et chez Manlius Boethius », dans Colloque ICONEA-2014 : Arithmetical Subjectivism or Unconscious
Knowlegde ?, Richard J. Dumbrill, éd., London, 2016 : https://u-bordeaux3.academia.edu/IlloHumphrey/Papers
SELECTED BIBLIOGRAPHY (3)
Mediæval Studies | Mediæval Related Studies
(1) HUMPHREY (Illo), Monographie : « Boethii De institutione arithmetica libri duo : Étude proto-philologique » (l’examen détaillé
de 5 manuscrits carolingiens du IXe siècle : Paris, Bibliothèque nationale de France, latins 14 064, 7183, 13009, n.a.l. 1614, latin
6639 ». Étude historique • Étude proto-philologique et édition critique princeps des gloses • Étude paléographique : glossaire critique de
sténographie latine (158 entrées) 6 planches hors-texte • catalogue des manuscrits glossaire critique de sténographie latine •
glossaire critique de signes de renvoi (notae sentenciarum) • dans Carmina Philosophiae International Boethius Society : ISSN#1075-
4407) n° 14, 2005, p. 57 – 158 : https://u-bordeaux3.academia.edu/IlloHumphrey/Papers
(2) HUMPHREY (Illo), « Quelques observations sur les Serments de Strasbourg et sur le manuscrit qui les contient (Paris,
Bibliothèque nationale de France, latin 9768 Xe s., f. 13r° : 2e col., 13v° : 1ère col.) : commentaire, transcription critique, étude
codicologique, fac-similé », in Bulletin de la Société des Fouilles Archéologiques et des Monuments Historiques de l'Yonne, n° 16, juin 1999, p.
83-92 : https://u-bordeaux3.academia.edu/IlloHumphrey/Papershttp://orcid.org/0000-0002-1130-0397
(3) HUMPHREY (Illo), « Étude codicologique et paléographique de l’œuvre de Marie Bashkirtseff (1858-1884), d’après son
journal intime écrit entre 1873 et 1884 », (5 planches hors-texte), in Colloque Marie Bashkirtseff, Nice, 21-23 septembre, 1995. Lecture
given on the 28th of February, 2004, at the Bibliothèque Municipale à Vocation Régionale (BMVR) Louis Nucéra de Nice : https://u-
bordeaux3.academia.edu/IlloHumphrey/Talkshttps://www.researchgate.net/profile/Illo_Humphrey/publications
(4) HUMPHREY (Illo), «
Vorwort », pages I-IX, in Interpretation der Vorreden der ´Historia Francorum´ bei Gregor von Tours, by
WILHELM KALTENSTADLER, Nordhausen | Allemagne (Traugott Bautz GmbH), 2011 • ISBN : 978-3-88309-630-8, IX-88 pages :
https://u-bordeaux3.academia.edu/IlloHumphrey/Papershttps://www.researchgate.net/profile/Illo_Humphrey/publications
ILLO HUMPHREY, PH. D.-HDR - 33 -
• Lecture | Carolingian Liberal Arts & Humanities: pages 1-22 | IWA1-08 – 10:30 a.m. | 19-VII-2016 •
• Concert
a cappella
: PRE-“GREGORIAN & “GREGORIAN CHANT: pages 23-24 | IWA-Theatre 1 – 12:05 p.m. | 19-VII-2016
• Ollscoil Luimnigh / University of Limerick |mh Chruinne Éireann Rince agus Ceol / Irish World Academy of Music & Dance •
ILLO HUMPHREY PH. D. | HDR
https://u-bordeaux3.academia.edu/IlloHumphrey http://orcid.org/0000-0002-1130-0397
https://www.researchgate.net/profile/Illo_Humphrey/publications
S