Compositional Planning, Musical Grammar and Theology in Old Hispanic chant

古西班牙圣歌的作曲规划、音乐语法和神学

• 批准号: AH/H008306/1
• 负责人: Emma Hornby
• 金额: $ 9.84万
• 依托单位: University of Bristol
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2009
• 资助国家: 英国
• 起止时间: 2009 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FH008306%2F1
• 关键词: Compositional; Planning; Musical; Grammar; Theology

At first glance, medieval liturgical chant is often taken as being synonymous with Gregorian chant. Despite the wide transmission of that repertoire, however, it is not the only early medieval tradition to have survived. The Iberian peninsula had its own independent chant tradition until the late-11th century, nowadays known as Old Hispanic chant. The main obstacle to appreciating and understanding Old Hispanic chant is the almost complete absence of transcribable melodies. By the time pitched notation was introduced to Iberia in the late-11th century, the Hispanic rite had been largely replaced by the Gregorian tradition. The Old Hispanic sources show where the melodies rise and fall, but do not specify precise intervals. This has acted as a veil, preventing scholars from appreciating what does survive and severely constraining melodic analysis of the tradition. Attempts to analyse the Old Hispanic melodies remain isolated, and generally focus on simple recitations, such as the responsory tones (studied by Don Randel, Clyde Brockett and, most recently, Susana Zapke).Rather than continuing the search for a way of transcribing Old Hispanic notation, this study uses only melodic shape to analyse the formulaic Old Hispanic chants sung during Lent (the threni, some Lenten laudes, and the Easter Vigil canticles). Understanding the way that textual accents and syntax interact with the melodies is an important part of understanding the musical grammar, and this combines with the work of my collaborator, Prof. Rebecca Maloy (University of Colorado), on the chant lyrics, which focuses on the role of biblical exegesis in the choice and treatment of liturgical text. Gaining a sense of the musical grammar and textual aesthetic of these formulaic chants enables us to explore the way in which they relate not only to their Gregorian equivalents but also to the cognate chants found in the local traditions of Rome, Milan and Benevento.This study has two objectives, one practical and the other theoretical. The theoretical questions are addressed through a monograph, which explores how the formulaic Old Hispanic Lenten chants function musically, how text and music relate, how this compares to other European traditions, and what these combinations of text and melody meant historically, liturgically, and institutionally in early medieval Iberia. Musicologists have specialised skills in the deciphering and analysis of medieval musical notations which enable us to add significantly to the understanding of those in historical, liturgical and theological disciplines, and we hope that the monograph will be a model for future scholarship in the field.A scholarly monograph on this subject is long overdue, and our background in comparative chant analysis, chant transmission, and text-music relations in chant uniquely places us to research and collaborate on it. It is equally important to us to communicate in an accessible way and to a wider public about this little-known musical repertoire and the medieval integration of theology with daily life. Our practical objective is to communicate the excitement of the scholarly 'treasure hunt' to the wider community, while also involving current students in the presentation of our findings, providing a model to which potential university students can aspire of musical performance together with an academic approach. We will present a series of lecture-recitals with my choir, the Bristol University Music Department Schola cantorum, including the few transcribable Old Hispanic chants, cognates in other European traditions, and tentative and purely illustrative realisations of some sample chants from the project. These events will bring this medieval sound world and its historical and theological context alive to audiences of early music enthusiasts, school and college pupils, the academic community, and the general public in Bristol and beyond, further facilitated by posting event footage on Youtube.

乍一看，中世纪的礼拜圣歌通常被认为是格里高利圣歌的同义词。然而，尽管这一保留曲目被广泛传播，但它并不是唯一幸存下来的早期中世纪传统。直到11世纪晚期，伊比利亚半岛有自己独立的吟唱传统，现在被称为古西班牙吟唱。欣赏和理解古西班牙圣歌的主要障碍是几乎完全没有可转录的旋律。到11世纪晚期音调记谱法传入伊比利亚时，西班牙人的仪式在很大程度上已经被格里高利传统所取代。古西班牙语资料显示了旋律的升降位置，但没有指定精确的音程。这就像一层面纱，阻止了学者们欣赏那些幸存下来的东西，并严重限制了对传统的旋律分析。分析古西班牙旋律的尝试仍然是孤立的，并且通常集中在简单的背诵上，比如响应音调（由唐·兰德尔、克莱德·布罗克特和最近的苏珊娜·扎普克研究）。而不是继续寻找一种转录古西班牙符号的方法，本研究仅使用旋律形状来分析在四旬斋期间唱的公式化古西班牙圣歌（threni，一些四旬斋赞美诗和复活节守夜颂歌）。理解文本重音和句法与旋律的互动方式是理解音乐语法的重要组成部分，这与我的合作者Rebecca Maloy教授（科罗拉多大学）在圣歌歌词方面的工作相结合，该工作侧重于圣经注释在选择和处理礼仪文本中的作用。获得对这些公式化圣歌的音乐语法和文本美学的感觉，使我们能够探索它们不仅与格里高利圣歌相关，而且与罗马，米兰和贝内文托当地传统中发现的同源圣歌相关的方式。本研究有两个目的，一个是实践目的，另一个是理论目的。理论问题是通过专著来解决的，它探讨了公式化的旧西班牙四旬斋圣歌是如何在音乐上起作用的，文本和音乐是如何联系的，这与其他欧洲传统相比如何，以及这些文本和旋律的组合在中世纪早期伊比利亚的历史，礼拜仪式和制度上意味着什么。音乐学家在解读和分析中世纪音乐符号方面有专门的技能，这使我们能够大大增加对历史，礼仪和神学学科的理解，我们希望这本专著将成为该领域未来学术研究的典范。我们在比较圣歌分析、圣歌传播和圣歌中的文本-音乐关系方面的背景使我们有独特的研究和合作的机会。同样重要的是，我们要以一种易于理解的方式，向更广泛的公众传播这种鲜为人知的音乐曲目，以及中世纪神学与日常生活的融合。我们的实际目标是将学术“寻宝”的兴奋传达给更广泛的社区，同时也让在校学生参与我们的研究成果的展示，为潜在的大学生提供一种模式，让他们能够在学术方法的基础上追求音乐表演。我们将与我的合唱团，布里斯托尔大学音乐系的合唱团一起举办一系列的讲座-独奏会，包括一些可转录的古西班牙圣歌，其他欧洲传统的同源词，以及项目中一些样本圣歌的试探性和纯粹的说明性实现。这些活动将把这个中世纪的声音世界及其历史和神学背景生动地呈现给布里斯托尔及其他地区的早期音乐爱好者、中小学和大学生、学术界和普通公众，并通过在Youtube上发布活动视频进一步促进。