Saint-Martial de Limoges au temps de l'abbe Odolric (1025-1040): Essai sur une piece oubliee du repertoire limousin

Hooreman, Paul

doi:10.2307/3686404

Cited by 3 publications

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“…This is one of the details that Hooreman missed in his monophonic analysis. He criticizes the form of the red notation for being overly simple, noting that some of the phrases repeated in triplicate would be particularly awkward because their cadences have a strong sense of closure and would thus have the effect of prematurely ending, then beginning again, then ending again, and so on (Hooreman 1949). Rather than assuming that the 72 Verses was a monophonic chant that was later revised to have a silly form, the polyphonic perspective is more compelling.…”

Section: Analysis 1: Two Nested Acrostics Shape the Polyphonic Structurementioning

confidence: 99%

“…Hooreman was critical of the poetry, complaining that the 72 Verses had no overall cohesion and seemed rather like 72 individual verses, one after the other. And that if we did not know that the music and text were created by the same author, one might have assumed that the tercet groupings had been put there arbitrarily by some other scribe or musician (Hooreman 1949). Without seeing the poetry in the context of these eight sections, it would be easy to come to such a conclusion, and the presence of the subdivisions is not immediately clear without looking at the polyphonic structure between the two melodies.…”

Section: Analysis 2: the Polyphonic Structure Subdivides The Poetry I...mentioning

confidence: 99%

“…According to Hooreman, the black notation was the first version of the chant and the red notation a simplified variation that was added later (Hooreman 1949). He provides a detailed analysis of the form of both melodies but does not consider the implications of their juxtaposition.…”

Section: Introductionmentioning

confidence: 99%

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Yes, It Is Polyphony and a Map: Revisiting the 72 Verses of St. Martial

Steenberge

2024

Arts

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The enigmatic 72 Verses for St. Martial is one of the many works by Ademar de Chabannes (989–1034) crafted to promote the false narrative that St. Martial of Limoges, rather than being a third-century bishop, was actually a first-century apostle. The composition is visually striking due to the acrostic formed from the first letter of each tercet, MARCIALIS APOSTOLVS XRISTI, and its two overlapping melodies, one in black ink and the other in red. The relationship between the two notations is the subject of debate: Paul Hooreman’s conclusion that they are two variations of the same monophonic chant is countered by Manuel Pedro Ferreira, who argues that Hooreman’s reasoning is insufficient to rule out polyphony. I use Ferreira’s assessment as a jumping-off point for the current analysis, which investigates the compositional processes underlying the creation of the 72 Verses. Hooreman describes many details in the chant as subject to disorganization, scribal error, lack of ability, etc., but when the chant is analyzed polyphonically, these problems resolve. Beyond the music itself, the chant’s unusual polyphonic structure features reveals that the chant is structured around medieval maps, moving between a mappa mundi and the celestial spheres.

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Section: Analysis 1: Two Nested Acrostics Shape the Polyphonic Structurementioning

confidence: 99%

Section: Analysis 2: the Polyphonic Structure Subdivides The Poetry I...mentioning

confidence: 99%

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Yes, It Is Polyphony and a Map: Revisiting the 72 Verses of St. Martial

Steenberge

2024

Arts

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Roger de Chabannes (d. 1025), cantor of St Martial, Limoges

Grier

1995

Early Music History

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We know only two things with certainty about the life of Roger de Chabannes. He was a monk at the abbey of St Martial in Limoges by the year 1010, at which time he served as the teacher of his nephew, Adémar de Chabannes. And when he died, on 26 April 1025, he held the position of the abbey's cantor. Both pieces of information come to us from Adémar, monk at St Cybard in Angoulême, historian, homilist and tempestuous polemicist in the campaign to win recognition for St Martial as an apostle. Other evidence, which also may well originate from Adémar, attests to Roger's death date and office.

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How the News was brought from Byzantium to Angoulême;or, The Pursuit of a Hare in an Ox Cart

Wolff¹

1978

Byz. mod. Greek stud.

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Ademar of Chabannes (988-1034) of noble family, a monk in the monastery of St. Cybard (Eparchus) at Angouleme, compiled a Chronicon in three books. The first begins with the origins of the Franks and ends with the death of Pepin the Short in 768; the second deals with the reign of Charlemagne; the third covers the years 814 to 1030. The first two books and the first fifteen chapters of the third (down to the year 877) are wholly derivative from identifiable sources. But from chapter sixteen onward the third book provides valuable information chiefly on the period 8 7 7-1030 in Aquitaine, presumably drawn from local written sources and from the memories of Ademar's associates. These included notably his two uncles, who were attached to the monastery of St. Martial at Limoges, as was Ademar himself in his youth. It was at St. Martial that on a stormy night in 1010 Ademar had a vision in the heavens of a fiery Cross with Christ upon it weeping a great river of tears: an experience that rendered him so thunderstruck (attonitus) that he kept it secret in his heart until many years later when he was nearing the end of his Chronicon. Then he wrote it down. From St. Martial he returned at the age of twenty-two to St. Cybard, took orders, and spent his life in writing. The 'original' chapters of his Chronicon only occasionally evince any interest in or knowledge of events in France north of Loire.

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Saint-Martial de Limoges au temps de l'abbe Odolric (1025-1040): Essai sur une piece oubliee du repertoire limousin

Cited by 3 publications

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Yes, It Is Polyphony and a Map: Revisiting the 72 Verses of St. Martial

Yes, It Is Polyphony and a Map: Revisiting the 72 Verses of St. Martial

Roger de Chabannes (d. 1025), cantor of St Martial, Limoges

How the News was brought from Byzantium to Angoulême;or, The Pursuit of a Hare in an Ox Cart

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