2 edition of Transmission in the Aquitanian versaria of the eleventh and twelfth centuries. found in the catalog.
Transmission in the Aquitanian versaria of the eleventh and twelfth centuries.
James Norman Grier
Written in English
|The Physical Object|
|Number of Pages||223|
Al-Andalus was the name of the Iberian Peninsula, given by the Moors during the Middle Ages. At its greatest geographical extent, its territory occupied most of the peninsula and a part of present-day southern France, Septimania (8th century), and for nearly a century (9th–10th centuries) extended its control from Fraxinet over the Alpine passes which connect Italy to Western Europe. 12th century music that is similar to versus, with original music, and rhymed rhythmical texts in Latin. It's original function was to "conduct" a celebrant or liturgical book from one location to another. The term was later used for any serious Latin song with a rhymes, rhythmical text regardless of the subject.
The final chapter consists of Maloy's remarks on her transcriptions of the Gregorian and Roman versions of all 94 offertories (available as pdf files on the internet, accessible with a password found on the inside cover of the book). The early 12th-century gradual, Benevento Biblioteca Capitol makes up the majority of the Gregorian. His brochure, Le Dieu de la Mort, Troyes, , 1 have not seen. Beauvois (p. , n. 1). declares that "cette opinion n'est confirmee ni par la presente legende ni par les suivantes." Whatever she was originally, to the Irish of the eleventh and twelfth centuries she was merely, as .
One of the paradoxes of Gregorian chant is the way in which written sources become ever more plentiful across the Middle Ages while commentaries on its cultural and intellectual status take the opposite direction, becoming rare after the ninth century. An exception to that trend is the essay De varia psalmorum atque cantuum modulatione (On the Varied Modulation of Psalms and . An illustration of an open book. Books. An illustration of two cells of a film strip. Video. An illustration of an audio speaker. Audio. An illustration of a " floppy disk. Software. An illustration of two photographs. Images. An illustration of a heart shape Donate. An illustration of text ellipses.
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The repertory of versus that circulated in eleventh- and twelfth-century Aquitaine is preserved in nine versaria, which today form parts of four codices: Paris, Bibliothèque nationale, fonds latin MSSandand London, British Library, Additional MS Cited by: 2.
Sarah Ann Fuller, "Aquitanian Polyphony of the Eleventh and Twelfth Centuries," JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY The repertory is transmitted in nine versaria, whose sigla are given in the appended list of manuscripts, together with the sigla used by.
STEMMA OF AQUITANIAN VERSARIA eleventh and twelfth centuries, and that this stemma is useful in two ways: it provides evidence that a handful of pieces descended via the same route and thus may be designated as a central repertory; and it is a tool for reconstructing the texts of pieces that were transmitted.
Grier, "Transmission in the Aquitanian Versaria of the Eleventh and Twelfth Centuries" (Ph.D. diss., University of Toronto, ), Tables andPP. 4 Treitler, "Homer and Gregory: The Transmission of Epic Poetry and Plainchant," The Musical Quarterly 60 (): /Cited by: 3.
“Transmission in the Aquitanian Versaria of the Eleventh and Twelfth Centuries” Izydorczyk, Zbigniew. “The Legend of the Harrowing of Hell in Middle English Literature” Porter, Nancy Anne. “Through a Gloss Darkly: An Edition of Aldhelm’s Riddles in the Glossed Manuscript British Library Royal ”.
Leo Treitler (b. Jan. 26, ) is an American musicologist born in Dortmund, Germany, and is Distinguished Professor at the Graduate Center of the City University of New York. Treitler studied at the University of Chicago under Grosvenor Cooper, achieving the BA in and the MA in He received an MFA from Princeton University in and a Ph.D.
in ; there. This book looks afresh at these manuscripts through ten case studies, representing key sources in Latin, French, German, and English from across Europe during the Middle Ages. Each chapter is authored by a leading expert and treats a case study in detail, including a listing of the manuscript's overall contents, a summary of its treatment in.
Dissertation: Transmission in the Aquitanian Versaria of the Eleventh and Twelfth Centuries. ACADEMIC AWARDS: Grasett Memorial Scholarship for Classics (shared); Moss Scholarship for Classics; Ontario Graduate Scholarships;,Imperial Order of Daughters of the Empire, War Memorial Scholarship; The twelfth-century Aquitanian repertory of versus is preserved in nine versaria, which today form parts of four codices: Paris, Bibliothèque Nationale.
The offertory has played a crucial role in recent vigorous debates about the origins of Gregorian chant. Its elaborate solo verses are among the most splendid of chant melodies, yet the verses ceased to be performed in the twelfth and thirteenth centuries, making them among the least known and studied members of the repertory.
Rebecca Maloy now offers the first 5/5(1). 68 Aquitanian neumes in Spanish manuscripts of the eleventh century, such as those in the manuscripts from Silos containing Roman chant, have a different appearance from the neumes in this addition, which resemble those in the twelfth-century manuscript reproduced by Zapke, Susana, Das Antiphonar von Santa Cruz de la Serós, xii Jahrhundert.
A tonary is a liturgical book in the Western Christian Church which lists by incipit various items of Gregorian chant according to the Gregorian mode (tonus) of their melodies within the eight-mode system. Tonaries often include Office antiphons, the mode of which determines the recitation formula for the accompanying text (the psalm tone if the antiphon is sung with a psalm, or.
12 Paris, BNF lat. and lat. ; see Sarah Fuller, 'Aquitanian Polyphony of the Eleventh and Twelfth Centuries' (Ph.D. diss., University of California, Berkeley, ), i. 13 James Grier, 'A New Voice in the Monastery: Tropes and Versus from Eleventh- and Twelfth-Century Aquitaine', Speculum, 69 (), at ten chant transmission abounds in the twelfth and thirteenth centuries, with the production of numerous liturgical books, the formation of new religious orders striving for uniform liturgical practices (such as the Cistercians and Dominicans), and the consolidation of monastic congregations into more.
Etymology of name. The English word troubadour was borrowed from the French word first recorded in in an historical context to mean "langue d'oc poet at the court in the 12th and 13th century" (Jean de Nostredame, Vies des anciens Poètes provençaux, p. 14 in ).
The first use and earliest from of troubador is trobadors, found in a 12th-century Occitan text. Michel Huglo twice states that Aquitanian music manuscripts throughout the eleventh and twelfth centuries all employed the same style of ruling in which scribes wrote the literary text of the chants on alternate rules, leaving a line in between text lines to serve as a single-line staff to orient the heighting of the neumes (pp.
14 and. Part II Aquitaine and the West: Northern French elements in an early Aquitainian troper, Paul Evans; A new voice in the monastery: tropes and versus from 11th- and 12th-century Aquitaine, James Grier; Further notes on the grouping of the Aquitanian tropers, David G.
Hughes. One of the most frustrating aspects of working with the liturgical material of the area where the scriptura Beneventana was prevalent—that is, the entire area south of Rome including Montecassino, the old duchy of Benevento, and the Dalmatian coast of the Adriatic—is the number of grievous lacunae that prevent us from seeing a good deal of the repertory in a.
‘ The Compilation of the Vercelli Book ’, ASE 2 (), – ; see further The Vercelli Book, ed. Sisam, Celia, EEMF 19 (Copenhagen, ), and Ó Carragáin, ‘The Vercelli Book’. page note 1 Ker, Catalogue, no.
the outside limits of the collection represented by Junius 85 and 86 are x mm. The Basques (/ b ɑː s k s / or / b æ s k s /; Basque: euskaldunak [eus̺kaldunak]; Spanish: vascos; French: basques) are a European ethnic group, characterised by the Basque language, a common culture and shared genetic ancestry to the ancient Vascones and Aquitanians.
Basques are indigenous to and primarily inhabit an area traditionally known as the Basque Country. *Aquitanian polyphony, more syllabic then Leoninus, 12th Century, *florid organum.
Roman 11th and 12th centuries, more complex than Gregorian chant. Gallic Chant. Gaul, france, chant. Modal Chant. oral transmission was mainly used, first neumes found inlater Solemnization developed by Solemnes monks which had four staff lines and.
Its medieval image owes much to a stylish minuscule book hand, and E.A. Loew's Beneventan Script (Oxford: Clarendon Press, ) went beyond paleography to consider the Beneventan role in the transmission of classics.
Study of the music began with R. Andoyer in with the bulk of them no earlier than the eleventh and twelfth centuries.See ‘Notation Systems in the Iberian Peninsula: From Spanish Notations to Aquitanian Notation (9th–12th Centuries)’, in Hispania Vetus: Musical-Liturgical Manuscript from Visigothic Origins to the Franco-Roman Transition 9th–12th Centuries, ed.
Susana Zapke (Bilbao, ), –, at Elsewhere she gives a more positive.