The Musical World of a Medieval Monk : Adémar De Chabannes in Eleventh-century Aquitaine

James Grier documents the musical activities of Adémar de Chabannes, eleventh-century monk, historian, homilist and tireless polemicist for the apostolic status of Saint Martial, patron saint of the abbey that bore his name in Limoges. Adémar left behind some 451 folios of music with notation in his autograph hand, a musical resource without equal before the seventeenth century. He introduced, at strategic moments, pieces familiar from the standard liturgy for an apostle and items of his own composition. These reveal Adémar to be a supremely able designer of liturgies and a highly original composer. This study analyses his accomplishments as a musical scribe, compiler of liturgies, editor of existing musical works and composer; it also offers a speculative consideration of his abilities as a singer; and finally, it places Adémar's musical activities in the context of liturgical, musical and political developments at the abbey of Saint Martial in Limoges. Cover......Page 1 Half-title......Page 3 Title......Page 5 Copyright......Page 6 Dedication......Page 7 Contents......Page 9 Preface......Page 11 A note on the musical examples and the edition......Page 17 CHAPTER 1 Introduction: Adémar de Chabannes and Saint Martial de Limoges......Page 19 SAINT MARTIAL DE LIMOGES......Page 22 THE MUSICAL COMMUNITY AT SAINT MARTIAL......Page 24 THE MUSICAL COMMUNITY IN THE ELEVENTH CENTURY......Page 29 ADÉMAR DE CHABANNES (989–1034)......Page 35 ADÉMAR AND PA 1121......Page 38 ADÉMAR, PA 909 AND THE APOSTOLICITY OF SAINT MARTIAL......Page 43 CHAPTER 2 Music scribe......Page 55 THE EARLY HISTORY OF NOTATION IN AQUITAINE......Page 58 THE NATURE AND FUNCTION OF MUSIC BOOKS PRODUCED AT SAINT MARTIAL......Page 63 A COMPARISON WITH THE USE OF MUSICAL NOTATION AT SAINT GALL......Page 67 THE IDENTIFICATION OF ADÉMAR’S MUSIC HAND......Page 70 THE PURPOSE OF MUSICAL NOTATION IN ADÉMAR’S MUSIC MANUSCRIPTS......Page 74 ADÉMAR’S MUSICAL NOTATION......Page 85 GROUPING AND LIGATION......Page 87 SPECIAL NEUMES: QUILISMA, INVERTED VIRGA, ORISCUS, PES STRATUS, TRISTROPHA......Page 88 LIQUESCENCE......Page 92 THE NOTATION OF SEQUENTIAE......Page 95 ADÉMAR’S COPYING TECHNIQUES......Page 103 CHAPTER 3 Compiler......Page 115 BORROWING AND ADAPTING AT SAINT MARTIAL......Page 116 THE APOSTOLIC MASS FOR MARTIAL......Page 123 THE TROPED MASSES FOR AUSTRICLINIAN AND JUSTINIAN......Page 133 THE APOSTOLIC OFFICE FOR MARTIAL......Page 134 THE APOSTOLIC OFFICE FOR MARTIAL: RESPONSORIES AND VERSES......Page 141 THE APOSTOLIC OFFICE FOR MARTIAL: TEXTUAL REVISIONS......Page 144 MINOR CHANTS OF THE OFFICE: VERSICLES, SHORT RESPONSORIES AND THE BENEDICAMUS DOMINO......Page 150 RESPONSORIAL TONES......Page 153 RESPONSORY MELISMATA......Page 172 CHAPTER 4 Editor......Page 177 TEXTED PIECES: LIQUESCENCE......Page 180 TEXTED PIECES: REPEATED NOTES AND DIFFERENCES IN PITCH......Page 192 UNTEXTED PIECES: THE COMMISSION AND CORRECTION OF ERROR......Page 200 UNTEXTED PIECES: EDITORIAL CORRECTION......Page 208 UNTEXTED PIECES: EDITORIAL REVISION......Page 213 EDITING THE DIVINE OFFICE: PA 909......Page 219 EDITING THE DIVINE OFFICE: PA 1978......Page 222 CHAPTER 5 Composer......Page 227 IDENTIFYING ADÉMAR’S ORIGINAL COMPOSITIONS......Page 230 THE SCOPE OF ADÉMAR’S ORIGINAL COMPOSITIONS......Page 235 OFFICES FOR SAINTS VALÉRIE, AUSTRICLINIAN AND CYBARD......Page 237 THE TEXTS......Page 242 MUSICAL IMAGES IN THE TEXTS......Page 249 ADÉMAR’S COMPOSITIONAL STYLE: ADAPTATIONS......Page 252 FORMULAIC COMPOSITION......Page 258 FREE COMPOSITIONS: OFFICE CHANTS......Page 261 SEQUENCE: ARCE POLORUM......Page 268 PROCESSION ON MONTJOVIS: AVE PASTOR OPTIME......Page 274 MELODIC REVISION: PRINCIPES POPULORUM AND ALLELVIA V BEATI OCULI......Page 282 CHAPTER 6 Singer......Page 290 BENEDICTINE MONASTICISM AND SINGING......Page 291 MUSIC IN ADÉMAR’S LITERARY WORKS......Page 293 ADÉMAR AS MUSIC SCRIBE AND EDITOR......Page 298 ADÉMAR AND MELISMATIC CHANT......Page 308 CHAPTER 7 Conclusion: The success of the apostolic campaign......Page 314 PA 1138/1338 AND THE PROSAE FOR SAINT MARTIAL......Page 317 PA 5240 AND THE HYMNS FOR MARTIAL......Page 323 PA 1119: ADÉMAR’S TROPED APOSTOLIC MASS AND PROSAE FOR MARTIAL......Page 326 PA 1137 AND 1132: THE CLUNIAC ADOPTION OF THE APOSTOLICITY......Page 334 MANUSCRIPTS IN WHICH THE MUSIC ONLY IS IN ADÉMAR’S HAND......Page 345 MANUSCRIPTS IN WHICH THE TEXT AND MUSIC ARE IN ADÉMAR’S HAND......Page 347 Tropes of the Proper of the Mass......Page 348 Office Propers......Page 349 TEXT ONLY......Page 351 Possible Lost Compositions......Page 353 OTHER MANUSCRIPTS......Page 354 ARTICLES, BOOKS AND EDITIONS......Page 356 ELECTRONIC RESOURCES......Page 376 Index of chants......Page 377 Index of manuscripts......Page 381 General index......Page 383 James Grier Documents The Musical Activities Of Ademar De Chabannes, Eleventh-century Monk, Historian, Homilist And Tireless Polemicist For The Apostolic Status Of Saint Martial, Patron Saint Of The Abbey That Bore His Name In Limoges.--jacket. Introduction: Adémar De Chabannes And Saint Martial De Limoges -- Music Scribe -- Compiler -- Editor -- Composer -- Singer -- Conclusion: The Success Of The Apostolic Campaign -- Appendix A. Manuscripts With Adémar's Music Hand -- Appendix B. Adémar's Original Compositions. James Grier. Includes Bibliographical References (p. 336-358) And Indexes. Adémar de Chabannes, well known in literary circles as a historian and homilist in early eleventh-century Aquitaine, was also active as a musician at the abbey of Saint Martial in Limoges. This book analyses the full range of Adémar's musical activities, as scribe, editor, composer and singer. Ademar de Chabannes, well known in literary circles as a historian and homilist in early eleventh-century Aquitaine, was also active as a musician at the abbey of Saint Martial in Limoges. This book analyses the full range of Ademar's musical activities, as scribe, editor, composer and singer.