NEW APPROACHES IN RESEARCH OF GREGORIAN CHANT: ETHNOMUSICOLOGICAL ASPECT
Keywords:
Gregorian chant, local traditions, ethnomusicological approach, Missal of Riga, medieval Riga, performance-composition processAbstract
The main issue of this paper is questions concerning the manuscript Missale Rigense (the Missal of Riga), dating back to the 14th century. The primary issue I am going to focus on is finding an answer to the question if the musical material of the above manuscript comprises any particular local music tradition at all, owing to the fact that this aspect, being directly linked with such issues as history and identity, in the music history of medieval Riga has never been investigated. This issue immediately entails the problem of choosing the most appropriate methodology and approaches towards investigating the relevant problem. This undoubtedly poses another question, concerning the notion of globality and locality in music.
Downloads
References
Bárdos, K. (1975). Volksmusikartige Variierungstechnik in den ungarischen Passionen (15.–18. Jahrhundert). Aus dem Ungarischen übertragen von T. und P. Alpári (Musicologia Hungarica: neue Folge, Veröffentlichungen des Bartok-Archivs Nr. 5). Budapest, etc.: Akadémiai Kiadó , etc.
Cardine, E. (1979). Semiologia gregoriana. Roma: Pontificio di Musica Sacra.
Cardine, E. (1980). Sémiologie et interprétation. Ut mens concordet voci. Festschrift Eugène Cardine zum 75. Geburtstag. St. Ottilien: EOS-Verlag, pp. 30–33.
Dobszay, L. (1990). Corpus antiphonalium officii, ecclesiarum centralis Europae. 1/A/. Budapest: Zenetudomanyi Intézet = Institute for Musicology.
Graduale Triplex (1979). Paris-Tournai: Abbaye Saint-Pierre de Solesmes & Desclée.
Haefele, H. F. (Hrsg., 1959). Notkeri Balbuli Gesta Karoli Magni imperatoris (Monumenta Germaniae Historica, Scriptorem rerum Germanicarum, Nova series, 12). Berlin: Monumenta Germaniae Historica.
Hucke, H. (1980). Toward a new historical view of Gregorian chant. Journal of the American Musicological Society, Vol. 33, No. 3, pp. 437–467.
Huglo, M. (1996). La recherche en musicologie médiévale au XXe siécle. Cahiers de civilisation médiévale, Vol. 39, pp. 67–84.
Jeffery, P. (1990). The formation of the earliest Christian chant traditions: Four processes that shaped the texts. PRISM: Yale Institute of Sacred Music, Worship and the Arts 14 (December), pp. 10–13.
Jeffery, P. (1995). Re-Envisioning Past Musical Cultures: Ethnomusicology in the Study of Gregorian Chant. Chicago: The University of Chicago Press.
Johannes diaconus (1892). Vita Gregorii. In: J.-P. Migne (ed.). Patrologia latina, cursus completus 75. Paris: Garnier, pp. 59–242.
Kleeman, J. E. (1985/1986).The parameters of musical transmission. The Journal of Musicology, Vol. 4, No. 1, pp. 1–22.
Le codex 121 de la Bibliothèque d’Einsiedeln (Xe-XIe siècle). Antiphonale missarum Sancti Gregorii (1974). Paléographie Musicale, Vol. 1, No. 4. Bern (Rpt. of Solesmes, 1894 edition).
Nettl, B. (1981). Some notes on the state of knowledge about oral transmission in music. In: D. Heartz, B. Wade (eds). International Musicological Society: Report on the Twelfth Congress, Berkeley 1977. Basel, London: Bärenreiter, pp. 139–144.
Rankin, S. K. (1993). Carolingian music. In: R. McKitterick (ed.): Carolingian Culture: Emulation and Innovation. Cambridge: Cambridge University Press, pp. 274–316.
Treitler, L. (1975). “Centonate” chant: übles Flickwerk or E pluribus unus? Journal of the American Musicological Society, Vol. 28, pp. 1–23.
Treitler, L. (1988). Communication regarding Levy’s “Charlemagne’s archetype of Gregorian chant”. Journal of The American Musicological Society, Vol. 41, pp. 566–575.
Wagner, P. (1970). Einführung in die Gregorianischen Melodien. Ein Handbuch der Choralwissenschaft. Zweiter Teil: Neumenkunde. Hildesheim: Georg Olms Verlag; Wiesbaden: Breitkopf & Härtel
SELECTED BIBLIOGRAPHY
Books:
Agustoni, L., & J. B. Göschl (1987). Einführung in die Interpretation des Gregorianischen Chorals. Bd. 1: Grundlagen. Regensburg: Gustav Bosse Verlag.
Bárdos, K. (1975). Volksmusikartige Variierungstechnik in den ungarischen Passionen (15.–18. Jahrhundert). Aus dem Ungarischen übertragen von T. und P. Alpári. Musicologia Hungarica: neue Folge, Veröffentlichungen des Bartok-Archivs Nr. 5. Budapest, etc.: Akadémiai Kiadó , etc.
Cardine, E. (1979). Semiologia gregoriana. Roma: Pontificio di Musica Sacra.
Diehr, A. (2004). Literatur und Musik im Mittelalter. Berlin: Erich Schmidt Verlag.
Fellerer, K. G. (1941). Deutsche Gregorianik im Frankenreich (Kölner Beiträge zur Musikforschung, Bd. V). Regensburg: Gustav Bosse Verlag.
Graduale Triplex (1979). Paris-Tournai: Abbaye Saint-Pierre de Solesmes & Desclée.
Harnoncourt, N. (1982). Musik als Klangrede. Wege zu neuen Musikverständnis. Salzburg, Wien: Residenz-Verlag.
Jeffery, P. (1990). The formation of the earliest Christian chant traditions: four processes that shaped the texts. PRISM: Yale Institute of Sacred Music, Worship and the Arts 14 (December), pp. 10–13.
Nettl, B. (1981). Some notes on the state of knowledge about oral transmission in music. In: D. Heartz, B. Wade (eds). International Musicological Society: Report of the Twelfth Congress, Berkeley 1977. Basel, London: Bärenreiter, pp. 139–144.
Rubenis, A. (1997). Viduslaiku kultūra Eiropā. Rīga: Zvaigzne ABC.
Schmidt, C. (2004). Harmonia Modorum. Eine gregorianische Melodielehre (Publikationen der Schola Cantorum Basiliensis). Winterthur: Amadeus Verlag.
Articles:
Hucke, H. (1980). Toward a new historical view of Gregorian chant. Journal of the American Musicological Society, Vol. 33, No. 3, pp. 437–467.