Saint Martial school
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The Saint Martial School was a
History of the Abbey Saint Martial de Limoges
Many of the modern musicological studies concerning a "Saint Martial School" focus on four manuscripts with remarkably innovative compositions for the 12th century.
Roger and Adémar de Chabannes and the troper-sequentiary
According to James Grier, Adémar de Chabannes also contributed within two troper-sequentiaries (F-Pn lat. 1121, 909) which have the finest tonaries of the region. He regards this late activity as a craftship which he learnt from his uncle, while he was revising older manuscripts, often by adding modal signatures to earlier manuscripts. But the intonation formulas of the tonaries had as well an explicit creative function, which can be demonstrated by an earlier manuscript already written in diastematic neumes. Some composed sequences of this earlier troper-proser-sequentiary (F-Pn lat. 1118, fol. 114r) are nothing else than a simple repetition of a more and more elaborated intonation, but the verse units cut the melodic motive into different parts, often against its modal structure. These early permutation technique already anticipated later isorhythmic composition techniques.
Early polyphony and the Cluniac influence on liturgical reforms
The scriptorium of Limoges continued its activities after Adémar's death in 1034, but it was no longer the only scriptorium of the Limousin diocese.
Polyphony was neither invented at Limoges nor did it appear the first time in the notation of its scriptorium. An oral tradition of a polyphonic performance can be traced back to the time, when the
What was exactly the role of the Abbey of Saint Martial for a school of anonymous cantors associated with Aquitanian polyphony?
The earliest evidence can be found in an older Troper-Proser with libellum structure (F-Pn lat. 1120). In some late additions cantors made exemplifications of a polyphonic performance of organum similar to those additions in the Gradual of the Abbey of Saint-Maur-des-Fossés (F-Pn lat. 12584, fol. 306). Under Cluniac influence the latter abbey developed an extravagant liturgy since 1006, when it was ruled by a new Abbot, who was sent from Cluny, where he had served as a cantor.[17] The polyphony can be easily recognized, because the notator used a method similar to a modern score.
There had been other methods as well. Some later additions in the early Troper-Proser (F-Pn lat. 1120) on folio 73v and on 77v look monophonic on the first sight, but the melody is organized in pairs so that each verse of it has to be sung together with an organum voice. The organum voice simply sings the text of the first verse with the melody notated with the text of the second one, and the cantus does vice versa repeat the melody of the first verse, while the singers applies it to the text of the second verse. On folio 81r and 105r we have three early examples of later added florid organum. Its notation technique had already developed in the monophonic manuscripts notated in parts by Adémar, in cases where the scribe of the text did not leave enough space for the neumes. The notator already used vertical strokes, which do indicate how the melismas have been coordinated with the syllables. On folio 105 recto, a «Benedicamus domino» was notated separately from the florid organum.
Both techniques of polyphonic performance, the punctum contra punctum (
The manuscripts of Aquitanian polyphony
In comparison with the few late traces of a polyphonic singing in the earlier manuscripts, the four main manuscripts and a lot of similar manuscripts of Aquitaine are so full of later developments, that their manifold forms, the calligraphy, the illuminations, and the poetry have not lost their attraction for philologists and musicians.
A well-known example is «Stirps iesse», which is nothing else than a florid organum over a «Benedicamus domino» cantus which was widespread within the Cluniac Monastic Association including the
The manuscripts "Saint-Martial C" und "D" even were nothing more than additional quaternia within a homiletic collection of sermons. Most of the manuscripts with polyphonic compositions are not just from the Abbey of Saint-Martial at Limoges, but as well from other places of Aquitaine. It is unknown to what extent these manuscripts reflect the products of Saint Martial in particular, it rather seems that there were prosar collections from various places in Southern France.
During the 12th century, only a very few composers of the school are known by name, and the new poetic experiments were not only in Latin, they obviously inspired as well courtly poetry of the
References
Citations
- ^ a b Planchart & Fuller 2001.
- ^ Fuller 1979.
- F-Pn lat. 1139), unlike other sources during this period where polyphonic pieces are most often found added, by a later hand, at the end of quaternios of older monophonic manuscripts.
- ^ Arlt 1975.
- ^ Huglo 1982b.
- ^ a b Gillingham 2006.
- ^ Grier 1995.
- ^ Grier 2006.
- ^ See Helmut Spanke,Spanke 1931aSpanke 1931bSpanke 1932 who studied the poetic innovations of the manuscripts of the Abbey of Saint Martial.
- ^ Boynton 2006.
- ^ Herzo (1966) has already made a comparison of 5 Aquitanian graduals and found two groups—the one of St Martial of Limoges (F-Pn lat. 1132) and the Cathedral of Narbonne (F-Pn lat. 780) and the other between the Cathedral of Toulouse (British Library, Harley 4951), Saint Michel-de-Gaillac (F-Pn lat. 776), and Saint Yrieix (903).
- ^ Sherrill 2011, pp. 158–162.
- ^ Concerning the tonaries Michel Huglo (NGrove) had so far regarded the tonaries of the cathedral rite around Toulouse as one group together with F-Pn lat. 1118, but according to James Grier the latter already influenced Adémar's tonaries, because it has later additions from his hand concerning his new liturgy dedicated to Saint Martial.
- ^ Varelli (2013) found recently practical examples of this early organum practice which he dated back to the 10th century.
- ^ See Wulf Arlt's reconstruction in Rankin.Rankin & Hiley 1993, "Stylistic layers in eleventh-century polyphony": 102–141 A systematic discussion of the various treatises and of the examples given in chant manuscripts is offered by Fuller (1990).
- ^ See the reconstructions of the Winchester Troper organa by Susan Rankin, and those of the French organa by Wulf Arlt.Rankin & Hiley 1993
- ^ Huglo (1982b) also discussed hagiographic sources which document, that this change caused several conflicts and that part of the monastic community left the Abbey.
- ^ In a recent critical edition, Meyer (2009) could prove that certain parts of it can be traced back to the 12th century and belong to an abbot and cantor Guy de Cherlieu of the Cistercian reform group. In fact, there is no evidence that "discantus" and "organum" have been distinguished this way already during the 11th century. Guido of Arezzo's term was "diaphonia", about 1100 the term "organum" became more common for all kind of polyphony without being specified whether it was florid or simple like in "diaphonia". Concerning Cecily Sweeney's hypothesis that the Cistercian reform prohibited polyphonic performance of liturgical chant, which could not convince Christian Meyer, we cannot exclude the possibility that Guy de Cherlieu's ideas failed to convince Bernard of Clairvaux and other reformers. Nevertheless, even in that case an implicit prohibition had no real effect on the liturgical tradition of Cistercians, because one of the earliest treatises dedicated to the practice of fauxbourdon and its ornaments has a Cistercian provenance and the Las Huelgas Codex rather prove that Cistercian customs were also here not so far from Cluniac ones.
- ^ The aforementioned folio of the Gradual-Antiphoner of the Abbey Saint-Maur-des-Fossés (F-Pn lat. 12584) is probably one of the earliest sources for this popular tune, which seemed just to be an intonation formula of plagis protus with a final melisma.
- ^ F-Pn lat. 1139, fol. 49r.
Sources
- "Paris, Bibliothèque nationale, fonds lat., Ms. 776". Gradual of Saint-Michel-de-Gaillac (Albi, about 1079). Retrieved 20 December 2012.
- "Paris, Bibliothèque nationale, fonds lat., Ms. 780". Gradual and Tonary from the Cathedral of SS Just et Pastor, Narbonne (late 11th century).
- "Paris, Bibliothèque nationale, fonds lat., Ms. 903". Gradual of the Abbey Saint Yrieix near Limoges (11th century).
- "Paris, Bibliothèque nationale, fonds lat., Ms. 909". Troper, Sequentiary, and Tonary of St. Martial de Limoges (1028). Retrieved 30 December 2013.
- "Paris, Bibliothèque nationale, fonds lat., Ms. 1085". Abridged Antiphonary from the church St. Salvator Mundi, St. Martial Abbey in Limoges, with later modal classifications by Roger & Adémar de Chabannes (late 10th century). Retrieved 30 December 2011.
- "Paris, Bibliothèque nationale, fonds lat., Ms. 1118". Troper, Tonary, Sequentiary and Proser from Southwestern France, Région d'Auch (987–96). Retrieved 30 December 2011.
- "Paris, Bibliothèque nationale, fonds lat., Ms. 1120". Troper, Proser, Processional of St. Martial de Limoges (late 10th century). Retrieved 30 September 2013.
- "Paris, Bibliothèque nationale, fonds lat., Ms. 1121". Troper, Sequentiary, and Tonary of St. Martial de Limoges, Adémar de Chabannes (ca. 1025). Retrieved 30 December 2013.
- "Paris, Bibliothèque nationale, fonds latin, Ms. 1132". Gradual-Proser of the Abbey Saint-Martial at Limoges (late 11th century). Retrieved 2 October 2013.
- "Paris, Bibliothèque nationale, fonds latin, Ms. 1135". Sequentiary, Offertorial, and Troper of the Abbey Saint-Martial at Limoges (12th century). Retrieved 2 October 2013.
- "Paris, Bibliothèque nationale, fonds latin, Ms. 1139". Troper-Proser of the Abbey Saint-Martial at Limoges (12th & 13th century) [St-M A]. Retrieved 2 October 2013.
- "Paris, Bibliothèque nationale, fonds lat., Ms. 1240". Troper from the church St. Salvator Mundi, St. Martial Abbey in Limoges with neumes added by Adémar de Chabannes (933-936). Retrieved 30 December 2013.
- "Paris, Bibliothèque nationale, fonds latin, Ms. 3549, fol. 149-169". Troper-Proser of the Abbey Saint-Martial at Limoges (12th century) [St-M B].
- "Paris, Bibliothèque nationale, fonds latin, Ms. 3719, fol. 15r-100v". Troper-Proser of the Abbey Saint-Martial at Limoges (12th century) [St-M С]. Retrieved 2 October 2013.
- "Paris, Bibliothèque nationale, fonds latin, Ms. 12584". Gradual, Antiphonary and Processionnal of the Abbey Saint-Maur-des-Fossés near Paris (11th century). Retrieved 24 January 2014.
- "London, British Library, Add MS 36881". Polyphonic fragment of the region of Apt and South Catalonia, small south French-Catalan square notes on 7 to 9 staves of 4 or 5 dry-point lines (12th and 13th century) [St-M D]. See description at DIAMM.
- "London, British Library, Ms. Harley 4951". Gradual of Saint-Etienne of Toulouse, including a tonary (end of 11th century). Retrieved 30 December 2011.
- "Rome, Biblioteca apostolica vaticana, Cod. Reg. lat. 586, fol. 87v". Hagiographic Lectionary of the Abbey Saint-Benoît-sur-Loire with a notated organal voice for R. Viderunt omnes..., R. Omnes de saba venient..., R. Gloriosus Deus in sanctis (early 11th century).
Studies
- Arlt, Wulf (1975). "Peripherie und Zentrum vier Studien zur ein- und mehrstimmigen Musik des hohen Mittelalters". Forum Musicologicum — Basler Studien zur Musikgeschichte. 1: 169–222.
- Boynton, Susan (2006). Shaping a Monastic Identity: Liturgy & History at the Imperial Abbey of Farfa, 1000-1125. Ithaca: Cornell University Press. ISBN 978-0801443817.
- Danckwardt, Marianne (1999). "Das "Stirps iesse" der Handschrift Paris, Bibliothèque nationale, fonds latin 3549 und sein Verhältnis zum Saint-Martial- und Notre-Dame-Repertoire". In Bernd Edelmann; Sabine Kurth (eds.). Compositionswissenschaft: Festschrift Reinhold und Roswitha Schlötterer zum 70. Geburtstag. Augsburg: Wissner. pp. 11–30.
- Fuller, Sarah Ann (1969). Aquitanian polyphony of the eleventh and twelfth centuries. Berkeley: University of California.
- Fuller, Sarah (1979). "The Myth of "Saint Martial" Polyphony – A Study of the Sources". JSTOR 20532213.
- Fuller, Sarah (1990). "Early Polyphony". In Richard L. Crocker; ISBN 978-0193163294.
- Gillingham, Bryan (2006). Music in the Cluniac Ecclesia: A Pilot Project. Ottawa: Institute of Mediaeval Music. ISBN 978-1896926735.
- Grier, James (1995). "Roger de Chabannes (d. 1025), Cantor of St Martial, Limoges". Early Music History. 14: 53–119. S2CID 193229234.
- Grier, James (2003). "The Music is the Message: Music in the Apostolic Liturgy of Saint Martial". Plainsong and Medieval Music. 12 (1): 1–14. S2CID 162554319.
- Grier, James (2005). "The Musical Autographs of Adémar de Chabannes (989–1034)". Early Music History. 24: 125–168. S2CID 194078301.
- Grier, James (2006a). "The Music is the Message II: Adémar de Chabannes' Music for the Apostolic Office of Saint Martial". Plainsong and Medieval Music. 15 (1): 43–54. S2CID 162870563.
- Grier, James (2006). The Musical World of a Medieval Monk: Adémar de Chabannes in eleventh-century Aquitaine. Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo: Cambridge University Press. ISBN 9780521856287.
- Grier, James (2013). "Adémar de Chabannes (989–1034) and musical literacy". Journal of the American Musicological Society. 66 (3): 605–638. .
- Gushee, Marion S (1964). "Romanesque Polyphony — A Study of the Fragmentary Sources". Yale University.
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(help) - Hankeln, Roman (1999). Die Offertoriumsprosuln der aquitanischen Handschriften: Voruntersuchungen zur Edition des aquitanischen Offertoriumscorpus und seiner Erweiterungen. Regensburger Studien zur Musikgeschichte. Tutzing: Schneider. ISBN 978-3-7952-0973-5.
- Herzo, Anthony Marie (1966). "Five Aquitanian graduals, their mass propers and Alleluia cycles". Los Angeles: University of Southern California.
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(help) - Huglo, Michel (1955). "Les Preces des Graduels aquitains empruntées à la liturgie hispanique". Hispania Sacra. 8: 361–383.
- Huglo, Michel (1982a). "La tradition musicale aquitaine. Répertoire et notation". Liturgie et Musique (IXe-XIVe S.). Cahiers de Fanjeaux. 17: 253–268.
- Huglo, Michel (1982b). "Les débuts de la polyphonie à Paris : les premiers organa parisiens". Forum Musicologicum — Basler Studien zur Musikgeschichte. 3: 94–163.
- Kaden, Christian (1985). "Notation - frühe Mehrstimmigkeit - Komposition". Musiksoziologie. Wilhelmshaven: Heinrichshofen. pp. 334–447. ISBN 978-3795904463.
- JSTOR 932350.
- Karp, Theodore (1992). The polyphony of Saint Martial and Santiago de Compostela. Oxford: Clarendon Press.
- Meyer, Christian (2009). Le traité dit de Saint-Martial revisité et réédité. Retrieved 15 January 2014.
- doi:10.1093/gmo/9781561592630.article.40296. (subscription or UK public library membershiprequired)
- Rankin, Susan; ISBN 978-0193161252.
- Sherrill, William Manning (2011). "The Gradual of St. Yrieix in eleventh-century Aquitaine". Austin: University of Texas at Austin. )
- Spanke, Helmut (1931a). "St. Martial-Studien – Ein Beitrag zur frühromanischen Metrik". Zeitschrift für französische Sprache und Literatur. 54 (5/6): 282–317. JSTOR 40615184.
- Spanke, Helmut (1931b). "St. Martial-Studien. Ein Beitrag zur frühromanischen Metrik (Fortsetzung)". Zeitschrift für französische Sprache und Literatur. 54 (7/8): 385–422. JSTOR 40615197.
- Spanke, Helmut (1932). "St. Martialstudien II". Zeitschrift für französische Sprache und Literatur. 56 (7/8): 450–478. JSTOR 40615328.
- JSTOR 830028.
- ISBN 9780198166443.
- Varelli, Giovanni (2013). "Two Newly Discovered 10th-Century Organa". Early Music History. 32: 277–315. S2CID 191495159.