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The differences between Old-Roman, Ambrosian, Aquileian, Gallican,
and Hispanic chant, and their interconnections with each other and
the Gregorian chant occupied Michel Huglo in his early career,
although he returned to these questions in the 1980s and 1990s. The
present volume, the second in the set of four to be published in
the Variorum series, brings all this work together. Huglo's 1954
article, the first to describe the sources for Old Roman chant,
recognized as distinct from Gregorian chant, is of primary
significance for the historiography of Western plainchant, because
it opened the debate on the relationship between Old Roman and
Gregorian chant. The final section presents articles on the Latin
version of the Akathistos hymn and on Byzantine chants translated
into Latin that became part of the Western plainchant repertory.
Les differences entre les repertoires Vieux-romain, Ambrosien,
Aquileien, Gallican et Hispanique, leurs influences reciproques et
leurs relations avec le chant gregorien ont occupe Michel Huglo au
debut de sa carriere: il revint sur ces questions dans les annees
1980 et 1990. Ce volume, le deuxieme d'une serie de quatre dans la
collection Variorum, reunit toutes ces etudes. L'article de 1954 de
Michel Huglo sur les sources du chant Vieux-romain, considere comme
distinct du gregorien, est de premiere importance pour
l'historiographie du plain-chant occidental, car il a ouvert les
debats sur le rapport entre Vieux-romain et gregorien. Les articles
sur la version latine de l'Hymne Acathiste et sur les pieces de
chant byzantin traduites en latin dans les repertoires occidentaux
du plain-chant achevent ce volume.
The origin and development of Western plainchant, and of the genres
of liturgical book in which it is recorded, have occupied Michel
Huglo throughout his long career, which has taken him to libraries
in every corner of Europe and the United States. This volume, the
first in a set of four to appear in the Variorum series, brings
together analyses of manuscripts dating from the 9th to the 13th
century, including Huglo's pathbreaking studies of the antiphoner
of Compiegne, the first troper-prosers, and of alleluia lists as
clues to place of origin. The consequences of the Treaty of Verdun
(843) for the diffusion of the plainchant repertory, research in
medieval musicology in the 20th century, the utility of codicology
for musicological manuscript studies, and the critical edition of
the Gregorian antiphoner are addressed in other studies included
here. Les origines et le developpement du plain-chant en Occident
et l'etude des genres de livres liturgiques qui le contiennent ont
occupe Michel Huglo durant sa longue carriere et l'ont conduit A
visiter des bibliotheques partout en Europe et aux Etats-Unis. Ce
volume, le premier d'une serie de quatre dans la collection
Variorum, comprend des analyses de manuscrits du neuvieme au
treizieme siecle, notamment des etudes novatrices relanAant les
recherches sur l'antiphonaire de Compiegne, les premiers
tropaires-prosaires et les listes d'alleluias comme moyen
d'identification des manuscrits de chant. Les consequences du
traite de Verdun (843) pour la diffusion du repertoire de
plain-chant, les recherches en musicologie medievale au XXe siecle,
l'application des methodes de la codicologie A l'etude des
manuscrits notes, et l'edition critique de l'Antiphonaire gregorien
forment les sujets d'autres etudes reunies dans ce volume.
This is the third in a set of four collections of articles by
Michel Huglo to be published in the Variorum series. It brings
together the studies of Gregorian chant and of later monophonic and
polyphonic additions to the earlier repertory that occupied Huglo
in the second phase of his research. Represented here are articles
on the Kyrie, the introit tropes of St-Gall, an elegy for William
the Conqueror (d. 1087), the versus by Venantius Fortunatus for the
cathedral of Paris, the liturgical dramas of Fleury, early organum,
the Mass of Tournai, and, finally, the Requiem by Eustache Du
Caurroy. Ce volume des articles de Michel Huglo est le troisieme de
la serie de quatre dans la collection Variorum. Il reunit des
etudes sur le chant gregorien et sur les additions de pieces
monodiques ou polyphoniques faites au repertoire primitif, sujets
qui ont occupe Michel Huglo dans la seconde phase de sa carriere de
chercheur. Dans ce volume, le lecteur trouvera des articles sur le
Kyrie, les tropes d'introA-t de St-Gall, l'elegie pour Guillaume le
Conquerant (d. 1087), les versus de Venance Fortunat pour la
cathedrale de Paris, les drames liturgiques de Fleury, les debuts
de l'organum, la Messe de Tournai, et finalement le Requiem
d'Eustache Du Caurroy.
This is the final volume in the set of four collections of Michel
Huglo's articles to be published in the Variorum series, and
focuses on medieval music theory. The point of departure for
Huglo's research was his doctoral dissertation on tonaries,
published in 1971: as a consequence, he studied the manuscripts of
music theory concerning plainchant, and, later, those with writings
on music by authors of Late Antiquity as well as the Liber
glossarum, with its many definitions of musical terms. In this
volume, certain articles consider the interpretation or
dissemination of texts, instruction in the art of plainchant, and
musical instruction at the university. Others concern the
manuscripts of St Augustine's De musica and of the writings of
Calcidius, Macrobius, Helisachar, Hucbald, Gerbert of Aurillac,
Abbo of Fleury, John of Afflighem, and Hieronymus de Moravia,
amongst others. The volume closes with a bibliography of Michel
Huglo complementing that published in 1993 and a summary list of
his reviews of books on music and liturgy. Ce volume des articles
de Michel Huglo termine la serie de quatre dans la collection
Variorum. Il est centre sur la theorie musicale medievale. Le point
de depart des recherches de Michel Huglo sur la theorie musicale du
Moyen A'ge est forme par sa these sur les tonaires, editee en 1971:
en consequence il etudia les manuscrits de theorie musicale
concernant le plain-chant et, plus tard, les auteurs de l'Antiquite
tardive et le Liber glossarum qui contient des definitions de
nombreux termes musicaux. Dans ce volume, certains articles
traitent de l'interpretation ou de la dissemination des textes, des
instructions sur l'art du chant, et sur l'enseignement de la
musique A l'Universite. Ils concernent les manuscrits du De musica
d'Augustin, de Calcidius, Macrobe, Helisachar, Hucbald, Gerbert
d'Aurillac, Abbon de Fleury, Jean d'Afflighem, Hieronymus de
Moravia, et d'autres auteurs. Enfin, ce volume contient la
bibliographie de
Comparative studies of medieval chant traditions in western Europe,
Byzantium and the Slavic nations illuminate music, literacy and
culture. Gregorian chant was the dominant liturgical music of the
medieval period, from the time it was adopted by Charlemagne's
court in the eighth century; but for centuries afterwards it
competed with other musical traditions, local repertories from the
great centres of Rome, Milan, Ravenna, Benevento, Toledo,
Constantinople, Jerusalem, and Kievan Rus, and comparative study of
these chant traditions can tell us much about music, liturgy,
literacy and culture a thousand years ago. This is the first
book-length work to look at the issues in a global, comprehensive
way, in the manner of the work of Kenneth Levy, the leading
exponent of comparative chant studies. It covers the four most
fruitful approaches for investigators: the creation and
transmission of chant texts, based on the psalms and other sources,
and their assemblage into liturgical books; the analysis and
comparison of musical modes and scales; the usesof neumatic
notation for writing down melodies, and the differences wrought by
developmental changes and notational reforms over the centuries;
and the use of case studies, in which the many variations in a
specific text or melodyare traced over time and geographical
distance. The book is therefore of profound importance for
historians of medieval music or religion - Western, Byzantine, or
Slavonic - and for anyone interested in issues of orality and
writing in the transmission of culture. PETER JEFFERY is Professor
of Music History, Princeton University. Contributors: JAMES W.
McKINNON, MARGOT FASSLER, MICHEL HUGLO, NICOLAS SCHIDLOVSKY, KEITH
FALCONER, PETER JEFFERY, DAVID G.HUGHES, SYSSE GUDRUN ENGBERG,
CHARLES M. ATKINSON, MILOS VELIMIROVIC, JORGEN RAASTED+, RUTH
STEINER, DIMITRIJE STEFANOVIC, ALEJANDRO PLANCHART.
This is the third in a set of four collections of articles by
Michel Huglo to be published in the Variorum series. It brings
together the studies of Gregorian chant and of later monophonic and
polyphonic additions to the earlier repertory that occupied Huglo
in the second phase of his research. Represented here are articles
on the Kyrie, the introit tropes of St-Gall, an elegy for William
the Conqueror (d. 1087), the versus by Venantius Fortunatus for the
cathedral of Paris, the liturgical dramas of Fleury, early organum,
the Mass of Tournai, and, finally, the Requiem by Eustache Du
Caurroy. Ce volume des articles de Michel Huglo est le troisieme de
la serie de quatre dans la collection Variorum. Il reunit des
etudes sur le chant gregorien et sur les additions de pieces
monodiques ou polyphoniques faites au repertoire primitif, sujets
qui ont occupe Michel Huglo dans la seconde phase de sa carriere de
chercheur. Dans ce volume, le lecteur trouvera des articles sur le
Kyrie, les tropes d'introA-t de St-Gall, l'elegie pour Guillaume le
Conquerant (d. 1087), les versus de Venance Fortunat pour la
cathedrale de Paris, les drames liturgiques de Fleury, les debuts
de l'organum, la Messe de Tournai, et finalement le Requiem
d'Eustache Du Caurroy.
The differences between Old-Roman, Ambrosian, Aquileian, Gallican,
and Hispanic chant, and their interconnections with each other and
the Gregorian chant occupied Michel Huglo in his early career,
although he returned to these questions in the 1980s and 1990s. The
present volume, the second in the set of four to be published in
the Variorum series, brings all this work together. Huglo's 1954
article, the first to describe the sources for Old Roman chant,
recognized as distinct from Gregorian chant, is of primary
significance for the historiography of Western plainchant, because
it opened the debate on the relationship between Old Roman and
Gregorian chant. The final section presents articles on the Latin
version of the Akathistos hymn and on Byzantine chants translated
into Latin that became part of the Western plainchant repertory.
Les differences entre les repertoires Vieux-romain, Ambrosien,
Aquileien, Gallican et Hispanique, leurs influences reciproques et
leurs relations avec le chant gregorien ont occupe Michel Huglo au
debut de sa carriere: il revint sur ces questions dans les annees
1980 et 1990. Ce volume, le deuxieme d'une serie de quatre dans la
collection Variorum, reunit toutes ces etudes. L'article de 1954 de
Michel Huglo sur les sources du chant Vieux-romain, considere comme
distinct du gregorien, est de premiere importance pour
l'historiographie du plain-chant occidental, car il a ouvert les
debats sur le rapport entre Vieux-romain et gregorien. Les articles
sur la version latine de l'Hymne Acathiste et sur les pieces de
chant byzantin traduites en latin dans les repertoires occidentaux
du plain-chant achevent ce volume.
The origin and development of Western plainchant, and of the genres
of liturgical book in which it is recorded, have occupied Michel
Huglo throughout his long career, which has taken him to libraries
in every corner of Europe and the United States. This volume, the
first in a set of four to appear in the Variorum series, brings
together analyses of manuscripts dating from the 9th to the 13th
century, including Huglo's pathbreaking studies of the antiphoner
of Compiegne, the first troper-prosers, and of alleluia lists as
clues to place of origin. The consequences of the Treaty of Verdun
(843) for the diffusion of the plainchant repertory, research in
medieval musicology in the 20th century, the utility of codicology
for musicological manuscript studies, and the critical edition of
the Gregorian antiphoner are addressed in other studies included
here. Les origines et le developpement du plain-chant en Occident
et l'etude des genres de livres liturgiques qui le contiennent ont
occupe Michel Huglo durant sa longue carriere et l'ont conduit A
visiter des bibliotheques partout en Europe et aux Etats-Unis. Ce
volume, le premier d'une serie de quatre dans la collection
Variorum, comprend des analyses de manuscrits du neuvieme au
treizieme siecle, notamment des etudes novatrices relanAant les
recherches sur l'antiphonaire de Compiegne, les premiers
tropaires-prosaires et les listes d'alleluias comme moyen
d'identification des manuscrits de chant. Les consequences du
traite de Verdun (843) pour la diffusion du repertoire de
plain-chant, les recherches en musicologie medievale au XXe siecle,
l'application des methodes de la codicologie A l'etude des
manuscrits notes, et l'edition critique de l'Antiphonaire gregorien
forment les sujets d'autres etudes reunies dans ce volume.
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