[John L. Snyder]

Dear Collective Wisdom (with apologies for the length and cross-posting):

Et sicut multae et diversae sententiae ad volumen usque concrescunt, ita multae et diversae cantilenae antiphonarium cumulatae perficiunt. Ex quo probatur quod sanctissimus papa Gregorius plus omnibus per divinam gratiam huius artis industriam sit adeptus. Nam si perpendas valde mirabile est, quod nocturnis responsoriis somnolentorum more graviter et dissolute ad vigilandum nos exhortare videtur; in antiphonis vero plane et suaviter sonat; in introitis vero quasi voce praeconia ad divinum clamat officium; in alleluia suaviter gaudet; in tractu vero et gradualibus plane et protense humiliataque voce incedere videtur; in offerendis vero et earum versibus, maximeque in communionibus, quantum in hac arte valuerit patefecit. Est enim in eis omnimoda huius artis elevatio, depositio, duplicatio, dulcedo cognoscentibus, labor discentibus, valdeque ab aliis cantibus discrepans mira dispositio, et non tantum secundum musicam facti quam musicae auctoritatem et argumenta praestantes.

Gerbert, Scriptores, I, 276a; I-Fl Conv. Sopp. III.565, f. 52v

Noteworthy also (not to overwork Guido\’s authority) is the practice of that highest, most holy Pope Gregory. In the nocturnal responsoria, which are customarily given heavily and laxly, without energy, in the manner of sleepy men, he seems to exhort us to wake up. And in the antiphons he sounds simply and sweetly. But in the introits, as if with the voice of the priest, he clamors to the Divinity and evokes the office. In the alleluias and sequences which the Ambrosians set to music he seems to delight sweetly, with a heavenly jubilation. But in the tracts and graduals he is known to proceed with a simple, relaxed, and submissive voice. In the of­ferings and communions he has made it clear how much power there is in the effects of the melodic pattern of these chants.

The Practica Musicae of Franchinus Gafurius. Trans. and ed., with musical transcriptions, by Irwin Young. Madison: The University of Wisconsin Press, 1969.

My question is: did Ps.-Odo invent these characterizations of chant genres, or was he drawing on an earlier source? I have found nothing in the TML, but perhaps there may be information in databases relating to church history or liturgical studies, about which I am ignorant. Any help will be much appreciated!

All best,

John Snyder

University of Houston

JLSnyder@uh.edu

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