Les versus de Venance Fortunat pour la procession du Samedi-saint à Notre-Dame de Paris

Huglo, Michel

doi:10.2307/947284

Cited by 2 publications

(1 citation statement)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…76v), the abbey of St Denis and the church of Paris took great care to retain until the sixteenth century the Versus ad fontes, the hymn by Venantius Fortunatus (d. c. 600) with the refrain Tibi laus perhennis which was composed explicitly for the procession of clerics and catechumens from the baptistery of St John the Baptist to the cathedral of St Stephen of Paris. 15 On the second Sunday after Easter (fol. 84v), the alleluia verses written by the first hand (Angelus Domini descendit and Nonne cor nostrum) have been replaced by the verses In die resurrectionis meae and Surrexit Dominus et occurrens, written by the copyist who transcribed the list of readings for the Foremass mentioned above onto the blank leaves in the twelfth century.…”

Section: The Gradual (Fols 1-141v)mentioning

confidence: 98%

John Haines, Eight Centuries of Troubadours and Trouvères: The Changing Identity of Medieval Music. Musical Performance and Reception. Cambridge: Cambridge University Press, 2004. xii, 347 pp. £50. ISBN 0 521 82672 1.

Kreutziger-Herr¹

2006

Plainsong and Medieval Music

View full text Add to dashboard Cite

Section: The Gradual (Fols 1-141v)mentioning

confidence: 98%

John Haines, Eight Centuries of Troubadours and Trouvères: The Changing Identity of Medieval Music. Musical Performance and Reception. Cambridge: Cambridge University Press, 2004. xii, 347 pp. £50. ISBN 0 521 82672 1.

Kreutziger-Herr¹

2006

Plainsong and Medieval Music

View full text Add to dashboard Cite

Latin Song at the Abbey of Sankt Gallen From C. 800 to the Liber Ymnorum

Barrett¹

2019

Early Music History

View full text Add to dashboard Cite

New light is shed on the song culture of Sankt Gallen almost a century before its earliest notated sources through consideration of the poetic section of a manuscript copied at the Abbey shortly after the year 800, i.e. the second part of Leiden, Universiteitsbibliotheek Vossianus Lat. Q. 69. The predominantly Merovingian accentual Latin verse (rhythmi) and metrical verse by the late-antique poet Prudentius (his Liber Cathemerinon and Liber Peristephanon) were written out in song forms. It is newly proposed that Prudentius’ verse from the Liber Peristephanon was arranged into a liturgical cycle. The poetic section of the Leiden manuscript is accordingly understood as a collection of songs, which prompts reflection on the way in which earlier sung versus at Sankt Gallen may have provided models for the later Liber ymnorum. Witnesses to the song culture of Sankt Gallen in the first half of the ninth century are re-examined and a leading role during this period for the nearby Abbey of Reichenau is proposed. Finally, it is suggested that Iso’s advice to Notker that singulae motus cantilenae singulas syllabas debent habere was at least partly informed by the existing tradition of sung versus at both abbeys.

show abstract

Les versus de Venance Fortunat pour la procession du Samedi-saint à Notre-Dame de Paris

Cited by 2 publications

References 0 publications

John Haines, Eight Centuries of Troubadours and Trouvères: The Changing Identity of Medieval Music. Musical Performance and Reception. Cambridge: Cambridge University Press, 2004. xii, 347 pp. £50. ISBN 0 521 82672 1.

John Haines, Eight Centuries of Troubadours and Trouvères: The Changing Identity of Medieval Music. Musical Performance and Reception. Cambridge: Cambridge University Press, 2004. xii, 347 pp. £50. ISBN 0 521 82672 1.

Latin Song at the Abbey of Sankt Gallen From C. 800 to the Liber Ymnorum

Contact Info

Product

Resources

About