| St.Martial楽派 |
| ここは、St.Martial楽派のページです。とりあえず概略は以下のページ参照 St.Martial school（Ｗｉｋｉｐｅｄｉａ）へ １２世紀には、多声音楽が発達したが、主たる場は２か所あった。一つがSt.Martial”楽派”であり、もう一つがカリクストゥス写本（Codes Calixtius)である。ここでは前者を扱いたい。 St.Martial”楽派”は、従来より楽派（school）と呼ばれているが、その４つの写本がこのSt.Martial修道院で作成された証拠はないために、このような言い方は不適格とされている。そのため、、R.Hoppin著「Medieval Music」ｐ201では、”St,Martial Polyphony”という言い方を提唱している。なお、サン・マーシャル”楽派”で使用されている定旋律は、典礼聖歌によるものはあまり用いず、独自のものを用いていることが多い。 San Marziale di Limoge4.La polifonia aquitana（イタリア語↓自動翻訳による英語） With the expression 'polyphony of St. Martial' or 'polyphony Aquitane' it is traditionally defined as a repertoire of music for two voices characterized by being noted in neumes Aquitani and being essentially contained in the four ancient codes (F-Pn lat.1139 , 3549 and 3719 and GB-Lbl add.36881). Of these at least three they were gathered at the monastery of St. Martial in Limoges at the beginning of the thirteenth century (see article on Treasures of the Library of St. Martial de Limoges). Aquitane Polyphony is thus considered a typical product of St. Martial and the Limousin region, although there is no evidence that the joints songs down to us are all or partially actually original creations of the abbey school. ・写本について
Two-Part Conductus Repertories p36(PDFページ)
Two-Part Conductus Repertories p37(PDFページ) There are two significantly different versions of the work in the Aquitanian manuscripts, in A-II and in D-I. The A-II version is florid and melismatic, whereas the D-I version is much closer to note-against-note style, with only a few short neumatic groupings on some syllables of the upper voice. Relationships between the Twelfth-Century Aquitanian Polyphonic Versus and Two-Part Conductus Repertories p１１９(PDFページ) The oldest layer of this polyphony, contained in F-Pn lat.1139 (Figure 2) and in some dossiers of Pn lat.3719, was copied around 1100, while the most recent layer (GB-Lbl add.36881) from the second half of the twelfth century. The total corpus of polyphony Aquitane consists of about 70 pieces: 49 versus 12 prose, 2 prosae responsorial, 3 verses of Benedicamus Domino Gregorian, two prayers, a hymn and an epistle. The versus polyphonic As you can see, versus the typical product of the school of this abbey (see article on monophony San Marziale), up more than two-thirds of the repertoire. They may be divided into two groups of 'versus ordinary' (29 pieces) and 'versus Benedicamus Domino' (20 pieces), ending with the verse that Benedicamus Domino or some variant; however, the division is not very relevant, because, apart from the aforementioned difference, the two forms share a common musical and poetic style. At versus polyphonic Aquitaine it is given particular importance because it appears as the forerunner of conductus Parisian polyphony, both musically and textually: - As the conductus, the lyrics are rhymed, strophic, the accentual poetry and themes mainly deal with the Incarnation and Birth of the Virgin appropriate at Christmas time. - The two items are governed by principles of descant and may break in melisma expansive in one piece. They differ from this pattern very few compositions (including the note Stirps Jesse florigeram, see the initial image and some record performances in the box below), which superficially resemble the motet in combination with a flowery top singing voice a long poem and a lower slower intoning a liturgical melody Benedicamus Domino. However, according to experts, the nature and context of these pieces indicate that they are versus the experimental Benedicamus Domino and have no historical connection with the motet nor in the procedure nor the influence. At the present state of research, it appears that the Aquitani composers were (along with the Parisian school) among the first creators of florid polyphony, moving from note-against-note texture in a flowery counterpoint in which the top entry opposes best known to only one ( or at most two) in the other voice. This florid style, much more ornate than the polyphony previously known, however, is more limited than the melismatic style of Notre Dame organa: in some songs can be found alongside flourishing textures and note-against-note, to create a contrast to articulate some structural feature of the text or to emphasize the end of a poetic line or a verse in versus. Then there are versus (shorter ones) with the score entirely note-against-note or discantali, and other flourishing in its entirety; even the prose have different textures: the oldest and the responsorial maintain a polyphonic texture very prosperous, the most recent with poems in the new style in rhyme are more discantali. The remarkable musical variety of versus is in part a reflection of their different poetic structures: some are strophic while others have a non-repetitive score; some are set to music in style-sequence, with repeated phrases; others show a repetition of the phrase sporadic, not systematic. Key phrases or textual divisions of a versus often end with an expansive melisma in both entries, which serve to clarify the poetic structure and bring a striking resemblance to the Parisian caudas conductus. As counterpoint, polyphony in the Aquitane the two items are governed by two general principles, but applied not entirely systematically: contrary motion and perfect harmony. These two principles are particularly evident when the voices move note-against-note, but also emerge when operating in flowery style. Typically, the top item adorned with a florid passage connects with the lower through octave intervals, fifth, fourth or in unison; It is to point out that in more of a manuscript in the florid entries are located substantial musical variants that indicate a certain degree of flexibility in improvvisatoria executions and an oral transmission process. There are some basic contrapuntal figures that characterize the polyphony Aquitane: between them, the expansion or contraction of a perfect interval to another, and the intersection of voices within the form of a fifth. These figures are particularly important in melisma terminals where they often appear juxtaposed mosaic. The interdependence of the items in these steps indicates a conception of simultaneous parts, rather than consecutive, and suggests the training of singers improvisation in two voices in standard models. Although here and there, there was some uncertainty about the height of the notes (especially in the layers noticed the oldest), for publishers and modern artists, the main issue on the polyphony Aquitane concerns primarily the rhythmic interpretation. The neumes Aquitani, originally used for mono, does not specify the duration of the sounds and the other essential elements of the temporal structures: however it is obvious that the plot in two parts poses specific problems of coordination, especially when a single syllable carries unequal numbers of notes in each entry. There are few cases in which the rhythmic scanning is secure, for example in the note-against-note steps or when incur syllabic changes; in later sources they are found some of the first sections of division. But otherwise, or for most of the repertoire, the notation has very limited means to indicate the precise time alignment between the two voices, and the controversy about possible solutions remains strong, reaching to almost opposite conclusions: some scholars (Bryan Gillingham, Theodore Karp) support the interpretation that a modal system or mensural, and have edited the music accordingly. A different view is supported by those (Wulf Arlt, Richard Crocker, Marianne Danckwardt, Sarah Fuller, Hendrick van der Werf) who believe that music was performed in non-systematic rhythms, which were driven by the flexible structure and the development of the text, and arrivals of consonant intervals. Among the various factors cited in support of this second thesis there are the nature of the notation, in a more extreme variants of the usual transmission in the music in modal rhythm, the use of the dividing lines in later sources, the uncertainty of when the modal rhythm was codified (not only in Limoges but also in Parisian circles). Record achievements of polyphony Aquitane by scholars-performers (such as Marcel Peres, Dominique Vellard and Sequentia ensemble), considered as equivalent to scientific publications, show that the executions in flexible regular rhythms is practical and aesthetically effective. 参考サイト http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_MS_36881Add MS 36881のリスト(StM-D) http://www.diamm.ac.uk/jsp/Descriptions?op=SOURCE&sourceKey=919Add MS 36881のリスト2 http://archivesetmanuscrits.bnf.fr/ark:/12148/cc614796/cd0e3922Latin 3549のリスト(StM-B) http://www.diamm.ac.uk/jsp/Descriptions?op=SOURCE&sourceKey=900Latin 3549のリスト2 http://gallica.bnf.fr/ark:/12148/btv1b10507222x/f1.item.zoomLatin3549のmanuscript http://www.diamm.ac.uk/jsp/Descriptions?op=SOURCE&sourceKey=901Latin3719のリスト(StM-C) http://gallica.bnf.fr/ark:/12148/btv1b52502489w/f41.item.zoomＬａｔｉｎ3719のmanuscript http://www.diamm.ac.uk/jsp/Descriptions?op=SOURCE&sourceKey=898Latin1139(StM-A)のリスト http://gallica.bnf.fr/ark:/12148/btv1b6000946s/f72.item.zoomLatin1139のmanuscript Relationships between the Twelfth-Century Aquitanian Polyphonic Versus and Two-Part Conductus Repertories |