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Antiphon 3. Origins and composition of melodies. (i) Overview.: Ex.1 (a) Original version (b) ‘Corrected’ version

Antiphon 3. Origins and composition of melodies. (i) Overview.: Ex.1 (a) Original version (b) ‘Corrected’ version

Antiphon 3. Origins and composition of melodies. (ii) Adaptation.: Ex.2 Antiphons for Passion Sunday

Antiphon 3. Origins and composition of melodies. (ii) Adaptation.: Ex.2 Antiphons for Passion Sunday

Antiphon 3. Origins and composition of melodies. (ii) Adaptation.: Ex.3

Antiphon 3. Origins and composition of melodies. (ii) Adaptation.: Ex.3

Antiphon 3. Origins and composition of melodies. (ii) Adaptation.: Ex.4

Antiphon 3. Origins and composition of melodies. (ii) Adaptation.: Ex.4

Antiphon 3. Origins and composition of melodies. (ii) Adaptation.: Ex.5

Antiphon 3. Origins and composition of melodies. (ii) Adaptation.: Ex.5

Antiphon 3. Origins and composition of melodies. (iii) Centonization.: Ex.6

Antiphon 3. Origins and composition of melodies. (iii) Centonization.: Ex.6

Antiphon 3. Origins and composition of melodies. (iii) Centonization.: Ex.7

Antiphon 3. Origins and composition of melodies. (iii) Centonization.: Ex.7

Antiphon 3. Origins and composition of melodies. (iii) Centonization.: Ex.8

Antiphon 3. Origins and composition of melodies. (iii) Centonization.: Ex.8

Antiphon 3. Origins and composition of melodies. (iii) Centonization.: Ex.9

Antiphon 3. Origins and composition of melodies. (iii) Centonization.: Ex.9

Antiphon 3. Origins and composition of melodies. (iii) Centonization.: Ex.10

Antiphon 3. Origins and composition of melodies. (iii) Centonization.: Ex.10

Antiphon 3. Origins and composition of melodies. (iii) Centonization.: Ex.11

Antiphon 3. Origins and composition of melodies. (iii) Centonization.: Ex.11

Antiphon 3. Origins and composition of melodies. (iii) Centonization.: Ex.12 A similar melodic fragment appearing in antiphons of both Mass and Office: (a) the antiphon Spiritus Domini, CAO, iii, no.4998; and the introit Spiritus Domini, in Hesbert, Antiphonale missarum sextuplex, no.106; (b) with the phrases ‘hoc autem’ and ‘hoc facite’ from the antiphon Solvite templum, CAO, iii, no.4982; and the communions Ultimo and Hoc corpus, in Antiphonale missarum sextuplex, nos.105 and 67b

Antiphon 3. Origins and composition of melodies. (iii) Centonization.: Ex.12 A similar melodic fragment appearing in antiphons of both Mass and Office: (a) the antiphon Spiritus Domini, CAO, iii, no.4998; and the introit Spiritus Domini, in Hesbert, Antiphonale missarum sextuplex, no.106; (b) with the phrases ‘hoc autem’ and ‘hoc facite’ from the antiphon Solvite templum, CAO, iii, no.4982; and the communions Ultimo and Hoc corpus, in Antiphonale missarum sextuplex, nos.105 and 67b

Antiphon 5. Other antiphons in the Gregorian repertory. (i) Antiphons to the Psalter.: Ex.13

Antiphon 5. Other antiphons in the Gregorian repertory. (i) Antiphons to the Psalter.: Ex.13

Antiphon 5. Other antiphons in the Gregorian repertory. (i) Antiphons to the Psalter.: Ex.14

Antiphon 5. Other antiphons in the Gregorian repertory. (i) Antiphons to the Psalter.: Ex.14

Antiphon 5. Other antiphons in the Gregorian repertory. (iii) Antiphons to the ‘Benedictus’ and ‘Magnificat’.: Ex.15

Antiphon 5. Other antiphons in the Gregorian repertory. (iii) Antiphons to the ‘Benedictus’ and ‘Magnificat’.: Ex.15

Antiphon 5. Other antiphons in the Gregorian repertory. (iii) Antiphons to the ‘Benedictus’ and ‘Magnificat’.: Ex.16

Antiphon 5. Other antiphons in the Gregorian repertory. (iii) Antiphons to the ‘Benedictus’ and ‘Magnificat’.: Ex.16

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