The musical world of a medieval monk中世纪修道院的音乐世界

2006-12  

Cambridge Univ Pr  

Grier, James  

367  

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　　James Grier documents the musical activities of Adémar de Chabannes, eleventh-century monk, historian, homilist and tireless polemicist for the apostolic status of Saint Martial, patron saint of the abbey that bore his name in Limoges. Adémar left behind some 451 folios of music with notation in his autograph hand, a musical resource without equal before the seventeenth century. He introduced, at strategic moments, pieces familiar from the standard liturgy for an apostle and items of his own composition. These reveal Adémar to be a supremely able designer of liturgies and a highly original composer. This study analyzes his accomplishments as a musical scribe, compiler of liturgies, editor of existing musical works and composer; it also offers a speculative consideration of his abilities as a singer; and finally, it places Adémar's musical activities in the context of liturgical, musical and political developments at the abbey of Saint Martial in Limoges.

James Grier is Professor of Music History at the University of Western Ontario.

PrefaceA note on the musical examples and the edition 1 Introduction: Adémar de Chabannes and Saint Martial de Limoges 　Saint Martial de Limoges 　The musical community at Saint Martial 　The musical community in the eleventh century 　Adémar de Chabannes (989–1034) 　Adémar and Pa 1 　Adémar, Pa and the apostolicity of Saint Martial 2 Music scribe 　The early history of notation in Aquitaine 　The nature and function of music books produced at Saint Martial 　A comparison with the use of musical notation at Saint Gall 　The identification of Adémar's music hand 　The purpose of musical notation in Adémar's music manuscripts 　Adémar's musical notation 　Grouping and ligation 　Special neumes: Quilisma, Inverted Virga, Oriscus, Pes Stratus, Tristropha 　Liquescence 　The notation of sequentiae 　Adémar's copying techniques 3 Compiler 　Borrowing and adapting at Saint Martial 　The apostolic Mass for Martial 　The troped Masses for Austriclinian and Justinian 　The apostolic Office for Martial 　The apostolic Office for Martial: responsories and verses 　The apostolic Office for Martial: textual revisions 　Minor chants of the Office: versicles, short responsories and the Benedicamus domino 　Responsorial tones 　Responsory melismata 4 Editor 　Texted pieces: liquescence 　Texted pieces: repeated notes and differences in pitch 　Untexted pieces: the commission and correction of error 　Untexted pieces: editorial correction 　Untexted pieces: editorial revision 　Editing the Divine Office: Pa 　Editing the Divine Office: Pa 5 Composer 　Identifying Adémar's original compositions 　The scope of Adémar's original compositions 　Offices for Saints Valérie, Austriclinian and Cybard 　The texts 　Musical images in the texts 　Adémar's compositional style: adaptations 　Formulaic composition 　Free compositions: Office chants 　Sequence: Arce polorum 　Procession on Montjovis: Ave pastor optime 　Melodic revision: Principes populorum and Allelvia Beati oculi 6 Singer 　Benedictine monasticism and singing 　Music in Adémar's literary works 　Adémar as music scribe and editor 　Adémar and melismatic chant 7 Conclusion: The success of the apostolic campaign 　Pa /1338 and the prosae for Saint Martial 　Pa and the hymns for Martial 　Pa 19: Adémar's troped apostolic mass and prosae for Martial 　Pa and 2: The Cluniac adoption of the apostolicity Appendix A Manuscripts with Adémar's music hand Appendix B Adémar's original compositions Bibliography Index of chants Index of manuscripts General index

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