| 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 analyzes the full range of Adémar's musical activities, as scribe, editor, composer and singer. |
| James Grier is Professor of Music History at the University of Western Ontario. |
| Preface A note on the musical examples and the edition 1 Introduction: Adémar de Chabannes and Saint Martial de Limoges Saint Martial de Limoges The musical community at Saint Martial The musical community in the eleventh century Adémar de Chabannes (989–1034) Adémar and Pa 1 Adémar, Pa and the apostolicity of Saint Martial 2 Music scribe The early history of notation in Aquitaine The nature and function of music books produced at Saint Martial A comparison with the use of musical notation at Saint Gall The identification of Adémar's music hand The purpose of musical notation in Adémar's music manuscripts Adémar's musical notation Grouping and ligation Special neumes: Quilisma, Inverted Virga, Oriscus, Pes Stratus, Tristropha Liquescence The notation of sequentiae Adémar's copying techniques 3 Compiler Borrowing and adapting at Saint Martial The apostolic Mass for Martial The troped Masses for Austriclinian and Justinian The apostolic Office for Martial The apostolic Office for Martial: responsories and verses The apostolic Office for Martial: textual revisions Minor chants of the Office: versicles, short responsories and the Benedicamus domino Responsorial tones Responsory melismata 4 Editor Texted pieces: liquescence Texted pieces: repeated notes and differences in pitch Untexted pieces: the commission and correction of error Untexted pieces: editorial correction Untexted pieces: editorial revision Editing the Divine Office: Pa Editing the Divine Office: Pa 5 Composer Identifying Adémar's original compositions The scope of Adémar's original compositions Offices for Saints Valérie, Austriclinian and Cybard The texts Musical images in the texts Adémar's compositional style: adaptations Formulaic composition Free compositions: Office chants Sequence: Arce polorum Procession on Montjovis: Ave pastor optime Melodic revision: Principes populorum and Allelvia Beati oculi 6 Singer Benedictine monasticism and singing Music in Adémar's literary works Adémar as music scribe and editor Adémar and melismatic chant 7 Conclusion: The success of the apostolic campaign Pa /1338 and the prosae for Saint Martial Pa and the hymns for Martial Pa 19: Adémar's troped apostolic mass and prosae for Martial Pa and 2: The Cluniac adoption of the apostolicity Appendix A Manuscripts with Adémar's music hand Appendix B Adémar's original compositions Bibliography Index of chants Index of manuscripts General index |
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