In Nativitatem Domini Canticum

An Organum Treatise at the 13th century, 2013

ENGLISH Si cantus ascendit... is a brief treatise on descant probably compiled at the beginning of the 13th century explaining in 22 rules the movements of the descant from a starting point to an arrival point without the ornaments (passages, flowers etc.), and this in all the usual combinations of harmonic intervals (unison, fourth, fifth, octave, eleventh, twelfth) and on all melodic movements of plain chant (second, third, fourth and fifth). It is therefore useful in terms of structure to anyone who wants to improvise an organum, as well as to someone who wants to compose or control a motet or a conduit. We offer here a French and English translation for all educational and practical purposes. FRENCH Si cantus ascendit... est un bref traité de déchant compilé vraisemblablement au début du XIIIe siècle exposant en 22 règles les mouvements du déchant depuis un point de départ à un point d'arrivée sans les ornements (passages, fleurisse - ments etc.), et cela dans toutes les combinaisons usuelles d'intervalles harmoniques (unisson, quarte, quinte, octave, on - zième, douzième) et sur tous les mouvements mélodiques du plain chant (seconde, tierce, quarte et quinte). Il est donc utile sur le plan de la structure à celui qui veut improviser un organum, comme à celui qui veut composer ou contrôler un motet ou un conduit. Nous proposons ici une traduction française et anglaise à toute fin pédagogique et pratique.

Beredete Musik. Konversationen zum 80. Geburtstag von Wulf Arlt, 2019

Researchers have long agreed that Merito hec patimur, one of many pieces in the famous Ludus Danielis (London, BL, MS Egerton 2615) that have long been thought to be chant contrafacts, is a textual quote. Musically, however, this piece has always been considered a Gregorian cento (D. Wulstan, M. Bielitz), woven together of several Lenten responds. In this article I present the almost complete Gregorian matrix chant for the Beauvais piece, as well as a new constellation of textual borrowings from the liturgical material.

2014

The present volume is an edition of medieval liturgical tropes to the most extensive chants of the Roman Mass, Gloria in excelsis Deo. Following the editions of tropes to the Agnus Dei and Sanctus by the same editor in the series Corpus Troporum, this is the third part dedicated to Ordinary tropes. It is based on 137 manuscripts dating from the ninth through the thirteenth centuries. Volume 1 contains an introduction presenting the Gloria chant, its history and its interpretation by medieval commentators. Iversen presents the various compositional methods used by medieval compilers, who, combining 'wandering' verses, could vary the form of the troped chant in almost unlimited ways. The innovative aspect of this edition is to present for the reader as much material from this extensive poetic tradition while keeping faithful to the manuscript witnesses. Thus the main part of the first volume contains the critical edition of 152 tropes and prosulas amounting to thousands of verses, in various ways and at various points inserted into the Gloria chanted in the medieval Mass. Volume 2 publishes 32 plates from the manuscripts used in the edition. It then provides an overview of the entire Gloria repertory, listing all the manuscripts by place of provenance (coinciding with the order of collation) and detailing information on the place of insertion of each verse in the tropes and prosulas, including liturgical rubrics and melodies. French musicologist Marie Noël Colette contributes to this volume with musical transcriptions and annotations of a selection of troped Gloria chants. Indices and bibliography conclude the volume.

BM 78614 is a fragment of a bilingual hymn or incantation to Utu, 1 originating probably from Sippar. 2 Its obverse shows clear similarities to one section of the large incantation to Utu re-edited by B. Alster, 3 where it enumerates the sun's steeds and attendants. Hymnal descriptions of chariots of other deities are not unknown elsewhere.^ None of them, however, offer a better parallel to the present fragment than the large incantation to Utu just mentioned. The descriptive mode of the recto changes in the verso into a first person penitential tone. As a whole, the reverse of the fragment, albeit not totally illegible, is much less clear and it is not impossible that another composition was superimposed on it.

The Journal of Ecclesiastical History, 2013

Roczniki Humanistyczne, 2015

[Wirripang], 2021

Anthem or "Lenten Carol" for AATTBB Choir and 2 x SSA Soloists (or Choirs) – with optional Organ and Instrumental accompaniment (reinforcing and/or vocal part replacement). N.B.: "Crucifixus, Op.13a", is an abridged version of the composer's "Woefully Arrayed", Op.13" - commencing from the Third Refrain. (The full version, which contains three verses, runs approximately 26 minutes.) AATTBB Choir [Choir 1] (minimum 2 voices per line) (stage middle front) + SSA Soloists [or Choir 2, if doubling parts]* (stage left back, or left gallery) + SSA Soloists [or Choir 3, if doubling parts]* (stage left right, or right gallery) = 1. AAAATTTTBBBB + 2. SSA + 3. SSA; or minimum of 18 singers: 4 sopranos; 6 altos; 4 tenors, 4 basses (* If treating 2 & 3 as Choirs rather than Soloists, min.6 per choir = 2. SSSSAA + 3. SSSSAA: thus 24 overall – being effectively a 12-part ‘Triple Choir’) ABOUT THE MUSIC The score is marked, “Slow and Spacious”, and “Maestoso (In Wonder)” – with the refrain becoming ever-more decorated on each return. Despite the subject matter, the mood of the refrain is more one of glory and awe, rather than mere dolefuleness. The intimate verses, by contrast, are marked, “Teneramente” (“Tenderly”). LYRICS: (From excerpts of text attributed to John Skelton) REFRAIN Wofully araide, My blode, man, For thee ran, It may not be naide; My body blo and wanne, Wofully araide. VERSE Of sharpe thorne I haue worne a crowne on my hede, So paynyd, so straynyd, so rufull, so red; Thus bobbid, thus robbid, thus for thy loue ded, Onfaynyd, not deynyd my blod for to shed; My fete and handes sore The sturdy nailis bore; What might I suffir more Than I haue don, O man, for thee? Cum when thou list, wellcum to me, Wofully araide. On CD at NAXOS DIRECT: https://naxosdirect.com/items/woefully-arrayed-410725 Available on Navona NV6113: See: http://navonarecords.com/catalog/nv6113/index.html And ONLINE OPEN-ACCESS CD BOOKLET: https://www.navonarecords.com/legacy-catalog/nv6113/booklet---woefully-arrayed---jonathan-little.html POLYCHORAL PROJECT REVIEWS 2017-18: http://myppk.com/Users/5816/PDFs/d11c6713-36fe.pdf ALBUM AWARDS: - WINNER (UK): "ENCORE CHORAL" AWARD: BBC Radio 3 / Royal Philharmonic Society - RUNNER-UP (AUSTRALIA): "CHASS AUSTRALIA PRIZE for DISTINCTIVE WORK" 2018: Council for the Humanities, Arts and Social Sciences (29th October 2018, Storey Hall, Melbourne) - NOMINATION (USA): "BEST CLASSICAL MUSIC RECORDING": RoundGlass Global Music Awards 2018 (26th January 2018, Edison Ballroom, New York) ISMN 979 0 720249 99 5 Available from: https://www.australiancomposers.com.au/collections/composers-and-authors/products/crucifxus-op-16 YouTube scrolling score: https://youtu.be/ah9T3omlRmc

Conference abstract, 2019

Music Encoding Conference 2019 University of Vienna, Department of Musicology https://music-encoding.org/conference/2019/program/ 'Cantus Ultimus' MEI Neume Module and its Interoperability Across Chant Notations' De Luca, Elsa (1); Bain, Jennifer (2); Behrendt, Inga (3); Fujinaga, Ichiro (4); Helsen, Kate (5); Ignesti, Alessandra (4); Lacoste, Debra (6); Long, Sarah Ann (7) 1: CESEM – NOVA University of Lisbon; 2: Dalhousie University; 3: Eberhard-Karls Universität Tübingen; 4: McGill University; 5: Western University; 6: University of Waterloo; 7: Michigan State University The MEI Neume Module represents the community’s attempt to create a standardized set of rules that encapsulate in a logical, systematic, and unequivocal way the musical information represented and conveyed by Western European neumatic notations (beginning with the late ninth century and continuing to the printed books of the twentieth). This paper has a threefold objective: 1) to describe the current MEI Neume Module (MEI Guidelines, version 4.0); 2) to outline the musical and palaeographical reasons that prompted us to flesh out some of its most debated rules; and 3) to discuss the interoperability of the current MEI Neume Module across the various styles of Western European early notations.

• Illo-Humphrey | PhD-HDR | Mini-Concert | Pre-“Gregorian” and “Gregorian” Chant | RMA-Study-Days | 8 & 9-XI-2019 | University of London (SOAS) | Direction: P. Huang & S. Bagast | Academia.edu | 22-XI-2020 • • (1) Te Deum laudamus • • Hymnus pro gratiarum actione | Officium Vigilarum (Office of the Vigils) | Tonus solemnis | 4th century • • The Te Deum laudamus is an anonymous pre-“Gregorian” Latin hymn, composed at the end of the 4th c., 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. Bibliography: Humphrey (I.), « L‘Hymne des Vigiles: ‘Te Deum laudamus’. Une étape importante dans l’histoire de la musique liturgique latine », in 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 • • (2) Tenebrae factae sunt, dum crucifixissent Jesum Judaei | 10th century [?]• • Responsorium | Sacrum Triduum Paschale (Good Friday) | Officium Vigilarum | Tetrardus authenticus (7th Mode) • • The responsorium « Tenebrae factae sunt », whose melody is largely based on the pentatonic formula G-A C (Sol-LA Do), is sung on Good Friday at the Office of the Vigils (i.e. Matins) at the 2nd Nocturnal Lesson; it is based on two biblical texts: Matthew 27 : 45-51 et John 19: 34. There are two principal versions of this chant, namely: « Sankt Gallen version » and « Metz version », each version being at the origin of several variants. This version of the « Tenebrae factae sunt » corresponds to the reading of the « Metz version » in that it permutes - that is to say, it reverses the order of, the two clauses: « et inclinato capite emisit spiritum » and « Tunc unus ex militibus lancea latus eius perforauit », being therefore in direct contradiction with the New Testament rendering of John 19: 34, which indicates clearly that Christ was pierced in the side by the lance of one of the soldiers after bowing his head and after giving up the ghost. The literary structure A-B-A1 of the « Tenebrae factae sunt » is typical of that of responsoria. • • Bibliography: cf. Rome, Bibliothèque Angelica, codex 123 (11th c., f. 103v); Sankt Gallen, Stiftsbibliothek, codices 390-391 (10th c.), p. 218; Metz, codex 83 (10th-11th c.); Officium et Missa ultimi tridui, Paris, Tournai, Rome, 1928, p. 114-115; Hesbert (Dom René-Jean), Le problème de la Transfixion du Christ, dans les traditions : biblique, patristique, iconographique, liturgique et musicale, 12 planches hors-texte, Paris, Tournai, Rome (Desclée et Cie.), 1940, p. 5-50. • (3) Quem quæritis in sepulchro | 10th century • • Tropus | Versus | Protus authenticus (1st Mode ) • • The famous trope or versus « Quem quæritis », composed around the year 930, is attributed to saint Odon (Abbot of Cluny from 927 to 942). Its first known attestation is in the composite manuscript from Saint-Martial of Limoges: Paris, BnF, Fonds latin 1240, f. 30v, dated, according to its different parts, between 900 and 936. This trope, composed in dialog form and based largely on the pentatonic formula E G-A (Mi Sol-La), appears to be the ancestor, or one of the ancestors, of the « liturgical drama » and is sung either at the end of the Office of the Vigils (i.e. Matins), or at the Easter day Mass just before the Introit Resurrexi. Just as the Te Deum laudamus, the text of the « Quem quæritis » is also a “literary patchwork”, that is to say a poetic résumé of the biblical verses taken from Matthew 28: 1-8, Mark 16: 1-8, Luke 24: 1-8, John 20: 1-9, describing the encounter of two angels and three women: Mary of Magdala, Mary (mother of James) et Salomé (cf. Mark 16: 1) standing in front of the sepulchre where Jesus’ body was laid with care by Joseph of Arimathaias (John 19: 38). • Bibliography: Lipphardt (W.), (ed.), Lateinische Osterfeiern und Osterspiele, 9 volumes, Berlin (De Gruyter), 1976–1990 • Rankin (S.), The Music of the Medieval drama in France and England, New York, Londres, 1989, 2 volumes • Drumbl (J.), Quem quæritis, Teatro dell’alto medioevo, Roma, 1981; Sarah Fuller, The European musical Heritage: 800-1750, New York (Alfred A. Knopf : ISBN 0-394-32951-1), 1987, p. 3-4 (n° 1b) • Smoldon (W.), “The Origins of the Quem Quaeritis and the Easter Sepulchre Music-Drama, as Demonstrated by Their Musical Settings”, in The Medieval Drama, ed. Sandro Sticca, (3rd annual Congress of the Center for Medieval and Early Renaissance Studies), State University of New York, Binghamton, 3-4 May, 1969, p. 121-154 • • (4) Alleluia, Pascha nostrum | 8th century  • Tetrardus authenticus (7th Mode) | [M-R-B-C-K-S](1) • • Dominica Resurrectionis ad Missam in Die | Easter Day Mass | 8th century • • Alleluia, [Verset]: 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. Based largely on the pentatonic formula G-A C (Sol-LA Do), this chant, also in A-B-A1 form, is sung in the 7th mode: G (Tetrardus authenticus), part B (the verse) being reserved for a soloist. • Nota bene: The second verse: « Epulemur in azimis sinceritatis et veritatis » (1st Corinthians 5: 8), 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) • • (5) Sequentia cum Prosa – Victimae Paschali laudes | Protus authenticus (Ist Mode) | 11th century • • Dominica Resurrectionis ad Missam in Die | Easter Day Mass | 11th century • • 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 Wipo the Burgundian (ca. 990-1050, the biographer of Emperor Konrad II, 990-1039), the Victimae Paschali laudes is a short dialog between the disciples of Christ and Mary of Magdala, Mary (mother of James), and Salomé. Just as the Hymn-Psalm Te Deum laudamus and the trope-versus Quem quæritis, the Victimae Pascali laudes is as well a “literary patchwork”, which is based on several New Testament texts, namely: Matthew 28: 1-7, Mark 16: 1-11, John 20: 10-20, Romans 6: 9. The melody of this sequence, based largely on the pentatonic formula E G-A (Mi Sol-La), 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 later became the cantus firmus and main theme of the Cantata BWV 4 (1707), as well as that of an ornate organ choral in the Orgelbüchlein (1708-1717) by the J. S. Bach • • Bibliography: Norberg (DAG), Manuel pratique de latin médiéval, Paris (Picard), 1980, p. 59, 162 • Marcusson (Olof), ed. Corpus Troporum II. Prosules de la Messe I. Tropes de l’Alleluia, Acta Universitatis Stockholmiensis, studia Latina Stockholmiensia 22, Stodkholm, 1976 • Crocker (RICHARD), The early medieval Sequence, Berkeley (California), 1977 | 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 • Huglo (Michel): Chant grégorien et musique médiévale, Variorum Collected Studies Series 814. Aldershot: Ashgate, 2005 p. IV, 314, p. XII, 7, p. XIX 16 ; Les sources du plain-chant et de la musique médiévale, Abigdon, UK (Taylor Francis Ltd), 2004 p. XVII, 93 • • Die dominico• decimo kalendas decembres• anno Domini intercalario ED• bis millesimo vicesimo • • Festum Sanctae Ceciliae (†ca. 176-180 [?] | ca. 230 [?]) | Sancta Patrona Musicae • • (Sunday, 22-XI-2020) • • IH | ih | PhD-HDR | scripsi et subscripsi •