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

内容概要

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

书籍目录

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

作者简介

James Grier documents the musical activities of Ademar 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. Ademar 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 Ademar to be a supremely able designer of liturgies and a highly original composer. This study analyses 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 Ademar's musical activities in the context of liturgical, musical and political developments at the abbey of Saint Martial in Limoges.

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