Ver pacis apperit telluris gremium

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http://teca.bmlonline.it/ImageViewer/servlet/ImageViewer?idr=TECA0000342136#page/649/mode/1up （c.f.320r) Ver pacis pacis aperit telluris gremium / Salutis reperit Remis remigium / lam Petrus exerit utrumque gladium/ Quo procul aberit incursus hostium... In unum confluit totus fons gratie / Cuius ros imbuii rus conscientie / Rivum, quem genuit rigor lustitae / Flumen preterfluit misericordie 　Payneの最初のカテゴリーは �@the polyphonic cantio groupであり、その一例は1179年に書かれたVer pacis aperitである。「 cantio 」は多くの種類の中世の歌を含む広い用語であるが、Payneのこの用語の使用は、特にAABの形式の作品を指す。13 Ver pacis aperitは、メリスマのないトルヴェールのcontrafactであり、後の作品がメリスマ書法により多くの焦点を当てているために、Payneは、これが最も初期のスタイルのconductusのひとつである、と示唆している。Payneは、1200年以降に書かれたこのスタイルのdatable conductusを1つだけ見いだした。1224年に書かれたDe rupta Rupeculaである。14 Relationships between the Twelfth-Century Aquitanian Polyphonic Versus and Two-Part Conductus Repertories参照 Ver pacis aperit was written in 1179 for the coronation of King Philip Augustus of France. Leo. The presence of the vernacular text by Blondel de Nesle suggests the possibility that this was written first as a trouvere song. Schrade, however, has compared the shape of the melody with that of the antiphon Unxerunt Salomonem, which was sung while the king was anointed, and has found that the conductus contains musical quotations from the antiphon. This, Schrade says, clearly shows that the creation of the conductus was closely linked with the coronation liturgy, and therefore could not have been created by Blondel as a secular work. Schrade suggests that Ver pacis aperit would likely have followed the performance of Unxerunt Salomonem, at the time when the king's insignia would have been brought forward. Although Schrade's explanation of the features of the text is convincing, the appearance of some notes from the antiphon in the conductus melody is not persuasive enough to conclude that the conductus version is earlier than Blondel's version; it is impossible to know which version of the work might be the original. Relationships between the Twelfth-Century Aquitanian Polyphonic Versus and Two-Part Conductus Repertories p106(PDFページ) written in 1179. The work also has a contrafactum text by the trouvere Blondel de Nesle: Ma joie me semont. Five manuscripts transmit this version of the work.. Another sub-group of conductus uses these intervals as well as the fourth. Ver pacis aperit, for example, has in its cadence in phrase 2 the progression of a unison moving to a fourth and then to a fifth. The rest of the cadences are the same as those in the Aquitanian cadential progressions, using only unisons, thirds, fifths and octaves as significant intervals. (同書p138) 元来、cadenceに完全4度を用いる例は少ない、ということ。 The Organum Interval Group contains works in which unisons, fifths and octaves are the most important intervals. There are two conductus in this category: Ver pacis aperit, written in 1179, and Ave nobilis venerabilis Maria. These conductus may well have been written at an earlier time than those in the other two categories, or use intervals in a way that is associated with the earlier works. Fullerによる分類では、各声部のverticalな関係により、 �@The Organum Interval Group（ contains works in which unisons, fifths and octaves are the most important intervals）　 �A Transitional Interval Group（ an increasing use of the third and fourth） 　 �B Discant Interval Group（ contains works in which the third is one of the most significant intervals.） に分けられる。 In Ver pacis aperit, unisons are the most common interval, followed by fifths. The number of signficant octaves and signficant fourths is the same, although there are six fourths also used as passing intervals. The next most common interval is the third; there are nine of these, and only three are significant intervals. Seconds and sixths are only used as passing intervals in this work. The fourth is treated as a secondary consonance in Ver pacis aperit. It is always found between two very strong intervals. It is not always used only as a passing interval, however. There are fourths that begin the second and fourth phrases, although if the intervals are taken in order, the first to second phrase has the progression 1-4-5, and the third to fourth phrase has 5-4-1, so the fourths are between two much more consonant intervals. Thirds are not used significantly in this work, and they do not appear at the beginnings and ends of phrases. Thirds most often are used as passing intervals, sometimes with seconds created by the use of stepwise motion. (同書p154) http://www.diamm.ac.uk/jsp/Descriptions?op=SOURCE&sourceKey=919