Compositional Planning, Musical Grammar and Theology in Old Hispanic chant

乍看之下，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，尽管这一剧目流传甚广，但它并不是唯一幸存下来的中世纪早期传统。伊比利亚半岛直到世纪晚期都有自己独立的圣歌传统，现在被称为老西班牙圣歌。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。到了世纪晚期，音高记谱法被引入到伊比利亚，西班牙的仪式在很大程度上被格里高利传统所取代。旧西班牙语来源显示旋律的上升和下降，但没有指定精确的间隔。这就像一层面纱，阻止学者欣赏幸存下来的东西，并严重限制了对传统的旋律分析。试图分析旧西班牙旋律仍然孤立，一般集中在简单的背诵，如唱和音（由唐·兰德尔、克莱德·布罗克特和最近的苏珊娜·扎普克研究）。本研究没有继续寻找一种转录古西班牙记谱法的方法，而是只使用旋律形状来分析四旬斋期间演唱的公式化的古西班牙圣歌（threni，一些四旬期的赞美，和复活节守夜canneles）。理解文本重音和句法与旋律的相互作用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）关于圣歌歌词的工作相结合，该工作侧重于圣经注释在礼仪文本的选择和处理中的作用。获得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其格里高利对应物，而且与罗马，米兰和贝内文托当地传统中的同源圣歌的关系。理论问题是通过一个专着，探讨如何公式化的老西班牙语四旬期圣歌功能音乐，如何文本和音乐相关，这是如何与其他欧洲传统相比，以及这些文本和旋律的组合意味着历史，literologically，并在中世纪早期的伊比利亚制度。音乐学家在破译和分析中世纪音乐符号方面具有专业技能，这使我们能够大大增加对历史，礼拜仪式和神学学科的理解，我们希望这本专著将成为该领域未来学术研究的典范。关于这一主题的学术专著早就应该出版了，我们在比较圣歌分析，圣歌传播，圣咏中的文本与音乐的关系是我们研究和合作的独特之处，以一种易于理解的方式与更广泛的公众交流这一鲜为人知的音乐曲目以及中世纪神学与日常生活的融合对我们来说同样重要。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，同时也让当前的学生参与我们的研究结果的展示，提供一个模型，让潜在的大学生可以渴望音乐表演与学术方法一起。我们将与我的合唱团，布里斯托大学音乐系Schola cantorum一起举办一系列讲座，包括少数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尝试性和纯粹说明性的实现。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的早期音乐爱好者，学校和大学生，学术界，观众和一般公众在布里斯托和超越，通过在YouTube上发布活动画面进一步促进。

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.