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The Aquitanian tropes of the Easter introit – a musical analysis

Published online by Cambridge University Press:  14 July 2009

Nicole Sevestre
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Extract

This article was originally designed as an essay supplementing the edition of tropes of the proper of mass of the Easter season in Corpus Troporum III (cf. the essay on the Christmas tropes in CT I, 1976). The circumstances of publication of CT have changed meantime, and the editor of this Journal is grateful to the author and to Dr.Ritva Jonsson, director of the CT project, for having made possible the publication of the essay here.

Type
Research Article
Information
Journal of the Plainsong & Mediaeval Music Society , Volume 3 , January 1980 , pp. 26 - 39
Copyright
© The Plainsong and Medieval Music Society 1980

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References

Notes

1 (p.26) Corpus troporum I: Tropes du propre de la messe 1 – Cycle de noël, Studia Latina Stockholmiensia, xxi (Stockholm, 1975)Google Scholar. See report in this Journal, 1 (1978), p.98 Google Scholar

2 (p.26) I do not consider as repetitions the melodies of the tropes Psallite regi magno (elements II, III and IV) and Summe sacerdos (elements II, III, IV, V, VI), simple sub-forms of the tropes Ego autem constitutus sum and Gaudete et laetamini. (See Weiss, 1970, pp.246, 413)

3 (p.27) Since this article was prepared for publication, another study of the meloform trope, in both Aquitanian and Swiss-German sources, has appeared: Huglo, M.: ‘Aux origines des tropes d'interpolation: le trope méloforme d'introit’, Revue de musicologie, 64 (1978), p.5 CrossRefGoogle Scholar.

4 (p.27) Hourlier, Dom J.: ‘Notes sur l'antiphonie’, Gattungen der Musik in Einzeldarstellungen: Gedenkschrift Leo Schrade I (Bern, 1973), p.116 Google Scholar

5 (p.28) Sevestre, N.: ‘Les tropes d'introit de Noël et de Pâques a l'origine du drame liturgique thèse, Université de Paris X, 1976, pp.90–93 Google Scholar

6 (p.29) A characteristic of antiphon chants – cf. Ferretti, Dom P.: Esthétique grégorienne, Tournai, 1938, p.313 Google Scholar.

7 (p.31) The modifications suffered by melodic formulas have been definitively analysed by Ferretti, op.cit., p.73.

8 (p.31) ‘… dans le chant grégorien, l'accent tonique, en bien des cas, aime la brièveté, oui, mais, en bien des cas aussi, préfère la longueur. C'est dire qu'il n'a pas de préférence absolue, aprioristique pour l'une ou l'autre, qu'il est, de soi, indifférent.’ (Ferretti, op.cit., p.339)

9 (p.31) N.Sevestre, op.cit., pp.132–133: transcription of the trope Quem nasci mundo

10 (p.32) Cf. Ferretti, op.cit., p.259

11 (p.33) Transcriptions of the two versions are given in my thesis Les tropes …