THE PSALMODIC FORMULA <i>NEANNOE</i> AND ITS ORIGIN

Werner, Eric

doi:10.1093/mq/xxviii.1.93

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“… Muziekgeschiedenis der middeleeuwen, Treede Deel (Tilburg, 1939-1942: 667. Of the three cases which Smits van Waesberghe mentions as exceptions, two of the examples of the rhythmic litterae probably are not to be linked to the oriscus, but rather to the preceding clivis (cf.…”

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The Origins of Western Notation : Revised and Translated by Neil Moran

Floros¹

2011

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It has long been recognized that Byzantine art undoubtedly exerted a significant influence on the West. This has particularly been shown to be the case of art history. The Byzantine dome as well as Byzantine mosaics and panel paintings inspired many artists in the West. One only needs to refer to the architecture of San Marco in Venice, to the mosaics of San Vitale in Ravenna and in the cathedral Santa Maria Nuova in Monreale (Sicily). Extremely significant for the acceptance of the Byzantine heritage is not least the Quadriga from the Hippodrome of Constantinople, which today decorates the San Marco in Venice. 1 The relationship between Byzantine church music and Gregorian chant is not so unambiguous. It is generally believed that both can be traced back to a common root, but each developed totally independently. The very close political, ecclesiastical and music historical relationships between Rome (the capital of the West Roman empire) and Constantinople (the capital of the East Roman empire) in the 6 th , 7 th and 8 th centuries have been thoroughly documented. Until the middle of the 8 th century papal Rome belonged to the Byzantine Empire. At least in political terms, the popes were in a dependent relationship with Constantinople. During this period several Syrians and Greeks occupied the apostolic throne. During this time, numerous festivals, procession and chants of the Byzantine rite were introduced in the Roman Church. In many cases, the original Byzantine melodies were also adopted. 2 The eminently important question of the relationship of Latin to Byzantine neumatic notation has long been unclear-understandable because systematic comparative studies of the neumatic notations had not been undertaken. My own investigations at the University of Hamburg into this complex date from at least 1957. This first involved an intensive study of the oldest surviving notations. The main difficulty was that the oldest neumatic notations were adiastematic (i.e. they did not designate the intervals precisely) and were therefore regarded as being indecipherable. One could formulate it as follows: the notation concealed a secret-an aspect which appealed to me even more so as I imagined myself to be searching for the solution of riddle. After many attempts over many years of research I managed to gradually decipher the mysterious ancient notations. In 1970 I published my three-volume Universale Neumenkunde-a work which caused an enormous sensation. Suddenly amazing connections between Byzantine Church music and the notation of Gregorian chant were exposed. Numerous Latin neumes and corresponding

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