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　　James Grier documents the musical activities of Adémar de Chabannes, eleventh-century monk, historian, homilist and tireless polemicist for the apostolic status of Saint Martial, patron saint of the abbey that bore his name in Limoges. Adémar left behind some 451 folios of music with notation in his autograph hand, a musical resource without equal before the seventeenth century. He introduced, at strategic moments, pieces familiar from the standard liturgy for an apostle and items of his own composition. These reveal Adémar to be a supremely able designer of liturgies and a highly original composer. This study analyzes his accomplishments as a musical scribe, compiler of liturgies, editor of existing musical works and composer; it also offers a speculative consideration of his abilities as a singer; and finally, it places Adémar's musical activities in the context of liturgical, musical and political developments at the abbey of Saint Martial in Limoges.

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

James Grier is Professor of Music History at the University of Western Ontario.

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　　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.

书籍介绍

James Grier documents the musical activities of Ademar de Chabannes, eleventh-century monk, historian, homilist and tireless polemicist for the apostolic status of Saint Martial, patron saint of the abbey that bore his name in Limoges. Ademar left behind some 451 folios of music with notation in his autograph hand, a musical resource without equal before the seventeenth century. He introduced, at strategic moments, pieces familiar from the standard liturgy for an apostle and items of his own composition. These reveal Ademar to be a supremely able designer of liturgies and a highly original composer. This study analyses his accomplishments as a musical scribe, compiler of liturgies, editor of existing musical works and composer; it also offers a speculative consideration of his abilities as a singer; and finally, it places Ademar's musical activities in the context of liturgical, musical and political developments at the abbey of Saint Martial in Limoges.