7

Musicological StudiesVol. LXXXIV

cemmemoration, Ritual and performance:EmaJ's in Medieval and Early Modern Music.

Edited by Jane Morlet Hardiewith

David Ifarvey

The Institute of Medirval MusicOfiawa, Canada

'1.'rr1 !* ,'!

1 i 'l ,f ,f l i ii

ira ils cs conrg noo ftbcmcnrr'

I

r'1 lrlltlmfikrn

t,

tl:.::,111.: ::r .,i r l{F1{icruf.tlrnl conufit{Tc td oominum Dfom tuum

"'

".1-1 : irtlhl ftlf il'i*utm irm*g;e tr ca rur tto ccr

.1 -_ r r' "1r "!=\,1, ir r

to:um.€nrEar oinine miftc

*.Jrr*. . . r r r r rt tt..t . .. ti

I ii t'.€reo

"tu rtds liffii s tEbE ultoltst

rrri*$H,::I#ill$.,!r;1n r *'rI 1'l' 1" 1 ' 'i rt lll''*foit t ri'rsois*.g errnr rqp fptrdsc {lhf,ren

-

Plate1:TheopeningpageoftheExultet.PassionariumToletanum(AlcalrideHenares,Brocar,1516), fol. ti "tt t"l'

London, British Library' Mylic' Case 35'k'10'

Repioduced by permission of the British Library'

Cm

CONTENTS

.i,':roduction.

t

ffit:tfenr for saur and ronathan.

.. 5

Hjj|:{ffir",1#il:i"*'s semitones and rheir Rerevance ror perrormance practice

17

Ixf,T:nI;.*;,:"*"r d : Braga an d Auri r r ac

.? tjr" Origins of the Christnras .Villancicos,-\{aricarmen G6mez . ,

ff,ffiff:il:,::rr|" Light: the Exultet in roredo sources from c.

37

53

71

1200toc.1600

,1"#t'otating christ's crucifi xion : Ignatius, Guerrero, and the Polyphonic passion inGral'son Wagstaff .

..89

iii

r.:.':'q

I

INTRODUCTION

This collection r

#iy#ffiffi )x}#;x,f x*r:;if, $#ilri::;",:nTri,*,ffi ,#HjThe schoiars wt

fi ifi#xTi*#ffi f iij,:ffi{,tr :^d jiimff,:: :1*.ss s.me aspec, .r

theme each in tr,"i.-i.,l"jll-.*l}'' those broad p*ir"r",i ,*.;:::lt,*"9 tberian wortd,.orr"",ioi-or;,*"J.,]Jil*iJrl;4:?ir*;ftT,:.xt"J*il,ff tf*l,H,,.original

"orf"..r"L.,;;":'rT::lected result. while r ,, ii," ",iu::'::""'

lhe resultant

i-a*ivi.gi,i;;i:$,f:'i:;*ffif:#tihffi tl,#k;'J:lTilt"*:#)L"emerged to bind ttu-,^*-Il': tnolt^tfues took on lives

"r;;':-:_:uonnance as the

;.t"#r"ffj""*1fi n#ii,s,r,ff?*h:Hl$flfl-1*1iiri,'[i"",r,-,,-

;:iffi::,tff LIffi jf:i:ijxfi ,l:Lr'l"p'"-s""iffi ;il:'r#i'"j1:l3J;H:

*l**hf *i#,r:i,1i:x*i$*:iidl"'iTolrp'"urrv"rnr'i"i'lv'orrransrormation.6;I1,11'"9i;;;;;:X'*:1"reu'*;:'L;il:::ti:'IT'fui:T;::T

6;+6-'+*t**[***l-*ol materials for the

;*:ir;;r.t#*;:q#"Tf#:;f #,**ffi iffi #,;f *i;*ffiH*:

I have chosen Ruth S

_on all of tr," isru"rjle,T^",t's

chapter to "head,,the book as her worsources and their o",ff"d bJ.ft. o,r,.. .onoriuiolll# il:::Tj}d:: in some way

e*r#i**I.l,;lil.*,:i:;rx*?ffi .%[*"ffi r',:Hiti*,'ldir#*;r*r'*#d*{ilhn"ff 11t#}fl!:i'jffi #"1:#*tii#.#.t;Tra-_U"r.rh. pr.mise that tuning is fundar

*ffi y:1*1mitla,fl *x[-.x:'r*fr::1:l:r,ff ""T:ffi :;:.Ji,$;"#?.'."-Trrm#r*f tTi*Hx,,ltr[l[#lii$r-,."'tffi

ot'at least one Arab

Cc*rm:aruion can h

" G#,, * fr oT*Tflifr '[:l ::,: #HH'".,.fi ,;;.lilH rl] ch os en ro exam ine

& r_r] -; -- ur Erag4 and through this

*jilffit%,,",ilJessays(.commernorarion,Rituarandnents/JMH_orderForm.pdf

to shine a light on one of the oldest and most influential liturgical practices in Iberia sincethe intoduction of the Roman rite to the Iberian Peninsula. Gerald worked in Toledo beforemoving to Braga, and this paper reconstructs the development of the Office thatcommemorates him, and shows how it reflects the culture from which it came. In trying toexplain changes in practice, chant scholars have always been firndamentalty engaged iithissues of transmission, and have focussed on changes that occur Arough this-process.Ferreira is no exception, and in his chapter we are given an insight inio transmission,adaptation and recomposition processes as they apply to this Office. Here FerreirareconsEucts a possible path for its shape, through an examination of the available evidenceand advances some hypotheses based on cultural understandings of the place and time. Inhis explanation of the development of the Office of St Gerald Ferreira emohasises the roleof memory, saying "conservatism, then, had a value: memory was the main treaswe of acultured man in a time when a typical canon's personal library <iid not exceed half:a-dozenlaw books."

G6mez' chapter incorporates all three aspects of the title, Commemoration. Ritual andPerformance. This chapter is part of a larger project on Spanish musical sources of thefifteenth and sixteenth centuries funded by the Ministerio de Ciencia y Tecnologfa in Spainand adds another dimension to her earlier work on the Song of the Sybil. Tracing theappeinance of the Song of the Sybil and the Christrnas villancicos from the twelfth century,Gomez concentrates her attention on two Ceremoniales from Toledo (circa 1500 and 1585),and from them offers a rare and valuable glimpse into the use and performance of theseitems in the linugy of that city.

G6mez' contribution is all the more welcome considering how little we know aboutperformance of lihugical items and how valuable rituales and. ceremoniales are as sourcesfor such investigations. It is to be hoped that this paper might provide the impefus for aconference or another book devoted to the topic of rituales and ceremoniales as sources forlinrrgical performance.

In her chapter on the Exultet in Toledo Kathleen Nelson offers the fust study in her largerinvestigation of the early Exultet in Spain. Her work adds to that of Georges Bendit-Castelliand Thomas Kelly. To Ben6it-Castelli's two subdivisions of the family of Roman Exuketprologue melodies (French and German), Nelson offers the possibility of a third, Spanishsub group. And to Kelly's work she adds further examples of variants that in his repertoryappeared to be unique or rare, thus suggesting an even greater variety ofpractice than thatalready identified. Most significant is her examination of Madrid 136l and her hvoothesisregarding its use as a witness for a change in practice at Toledo. In examining andevaluating the manuscipt evidence, she provides concrete evidence for the coexistence ofmore than one practice in Toledo.

Wagstaff sheds new light on relationships between St Ignatius and the Passion culture ofSpain and in doing so puts a practice into a cultural and religious context. Wagstaff sees thegenre of the polyphonic passion as one compon€nt in a rich culturaVreligious mix thatincludes lhe Spiritual Exercises of St Ignatius of Loyola, and religious confraternities withtheir Holy \Veek processions. His work touches on the interdisciplinarity of thecommemoration and rituals with which he is concerned, and an important component of hisdiscussion relates to unravelling the performance practices employed in the playing out ofthe Passion story.

m

2

rce

)re:atio,thls,)t,iraceInrle'a3n

ld1e

inte

Y,

),

ore of \Yagstaffs ilaluable additions to our knowledge, and itself very provocative, is his*ecT that the tem. more hispano had two quite distinit *"*irgr. s.holars have known foricne dme' and have often quoted, the pasiage from Johann"riur"t hrrat in which it was-raid rhat the singer sang the passion more-hispano in the papal chapel. some modemxhoiars use the term in a seemingly even more gerreric way. inhis chapte, t

"re wrlst#

h1'pothesises that one of -the

meanings of *ori hirprr, *^y have- ueen a very pi."ir"reterelge to the practise.ofimprovising polyphony, and offers concrete evidence for such ar:e*'. If his hypothesis is correct, he oplns a new window on mensurally-notated uur, [oi+*tr) parts found as marginalia in manuscript sources of plainchant beyond the ones that he;:rs here.

rt)S

a

J'

LIST OF CONTRIBUTORS

Dorothea Baumarm. Universitflt Zurich.

Manuel Pedro Ferreira. Universidade Nova de Lisboa.

Maricarmen G6mez. Universitat Autdnoma de Barcelona.

Jane Morlet Hardie. The University of Sydney.

Kathleen Nelson. The University of Sydney.

Ruth Steiner. iatholic University of America.

Grayson Wagstaff. Catholic University of America.

ACKNOWLEDGEMENTSi n'ould like to thank the Centre for Medieval Studies at the University of Sydney forlupport of the symposium from which these papers were developed. The intertiuiarv LoanDepartrnent of Fisher Library at the university or syaney ** * ulr"ry* helpful, courteousand spectacularly efficient. An especial oelt oittrar*r r hurio o*ia uu*"y. Not only didhe prepare the musical examples, and design and conhol the rayoui, ur.rirr" utro managed thegrand usk of achieving styristic consistency with grace and good rrr*o*.Jane Morlet Harcir:Centre for Medieval StudresThe University of Sydney

:rli?t

hjrI

5

d,f

I

t

h

S

f