Embellishing the Liturgy: Tropes and Polyphony (Music in Medieval Europe)

After the imposition of Gregorian chant upon most of Europe by the authority of the Carolingian kings and emperors in the eighth and ninth centuries, a large number of repertories arose in connection with the new chant and its liturgy. Of these repertories, the tropes, together with the sequences, represent the main creative activity of European musicians in the ninth, tenth, and eleventh centuries. Because they were not an absolutely official part of the liturgy, as was Gregorian chant, they reflect local traditions, particularly in terms of melody, and more so than the new pieces that were composed at the time. In addition, the earlier layers of tropes represent, in many cases, a survival of the pre local pre Gregorian melodic traditions. This volume provides an introduction to the study of tropes in the form of an extensive anthology of major studies and a comprehensive bibliography and constitutes a classic reference resource for the study of one of the most important musico-liturgical genres of the central middle ages. Series Page 3 Title Page 4 Copyright 5 Contents 6 Acknowledgements 8 Series Preface 10 Introduction 12 Part I: Tropes in General 56 1 Richard L. Crocker (1966) The Troping Hypothesis 58 2 David Hiley (1983) Some Observations on the Interrelationships between Trope Repertories 80 3 Michel Huglo (1978) Aux origines des tropes d’interpolation: le trope méloforme d’introït 90 4 Michel Huglo (1986) Les “Libelli” de Tropes et les premiers Tropaires Prosaires 140 5 Ritva Jacobsson and Leo Treitler (1986) Tropes and the Concept of Genre 150 6 John G. Johnstone (1983) Beyond a Chant: “Tui sunt caeli” and its Tropes 182 7 Ritva Jonsson (1983) The Liturgical Function of the Tropes 196 8 Alejandro Enrique Planchart (1988) On the Nature of Transmission and Change in Trope Repertories 222 9 Bruno Stablein (1963 ) Zum V erstandnis des „klassischen“ Tropus 258 Part II: Aquitaine and the West 272 10 Paul Evans (1970) Northern French Elements in an Early Aquitainian Troper 274 11 James Grier (1994) A New Voice in the Monastery: Tropes and Versus from Eleventh- and Twelfth-Century Aquitaine 282 12 David G. Hughes (1966) Further Notes on the Grouping of the Aquitanian Tropers 330 Part Ill: St Gall and the East 340 13 Gunilla Bjorkvall and Andreas Haug (1993) Tropentypen in Sankt Gallen 342 14 David Hiley (1992) Some Observations on the Repertory of Tropes at St Emmeram, Regensburg 398 15 Susan Rankin (1993) From Tuotilo to the First Manuscripts: The Shaping of a Trope Repertory at Saint Gall 420 Part IV: The Ordinary 440 16 Charles M. Atkinson (1977) The Earliest Agnus Dei Melody and its Tropes 442 17 David A. Bjork (1980) The Kyrie Trope 462 18 Gunilla lversen (1986) Pax et Sapientia: A Thematic Study on Tropes from Different Traditions 504 19 Thomas Forrest Kelly (1984) Introducing the Gloria in Excelsis 540 Part V: Tropes in the Office 568 20 Hans-Jorgen Holman (1963) Melismatic Tropes in the Responsories for Matins 570 21 Thomas Forrest Kelly (1977) New Music from Old: The Structuring of Responsory Prosas 582 Index 608