Adiastematic manuscripts as an expression of musical performance’s tradition
DOI:
https://doi.org/10.15633/pms.3492Keywords:
adiastematic and diastematic manuscripts, Gregorian semiology, sonic exegesis, neum, liturgy, Sanktgallen notation and Laon or Metzen notation, Einsiedeln 121, Laon 239, musical performanceAbstract
The article aims to depict how studying adiastematic manuscripts can lead us not
only to the most faithful interpretation of Gregorian music, but also to the most relevant
thing, which is understanding the spiritual and theological content of plainsong.
Gregorian chant is a true sonic exegesis, and semiology is the science that – through the
question of why this and not another sign was used over a specific neum – opens the way
to regaining some performance practice that is not a copy of the past but becomes a liturgical
reality today. In this paper two chants from the Midnight Mass form at Christmas
were subjected to a comparative analysis: Introitus: Dominus dixit and Communio: In
splendoribus sanctorum. The analysis is based on two sources, widely accepted in semiological
studies, namely the Einsiedeln 121 manuscript containing the Sanctgallen notation,
and the Laon manuscript 239, which gives us the Laon or Metzen notation. On this
basis, the idea of the Gregorian composer’s behaviour and the way it influences musical
performance were described.
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