| Popis: |
ALTHOUGH THE PRESERVED COPIES of the Magnus liber organi originated well after the time of the composition of the music which they contain, they inevitably must be regarded as our principal key to the history of the origin and development of this celebrated collection of two-voice organa. All students of this body of music, regardless of what have been their individual points of view and interests, have recognized the basic necessity of attempting to understand that which actually exists of the Magnus liber-three different versions and two fragments, along with two collections of two-voice clausulae. Points of agreement among the versions are obvious proof of the relationship of these versions with each other and with the original Magnus liber. Differences-in the organa contained, in their order of succession, in forms of the same organum-make it equally apparent that the three versions represent different stages in the development of the Magnus liber as well as differing liturgical practices and traditions.1 Ever closer study of these similarities and differences has advanced our understanding of the origin and development of one of the monuments of medieval music, and much more remains to be learned. The present study finds its point of departure in the fact that not only do the sources preserve partially different versions of the same organum, or even completely different settings of the same chant, but they also preserve interrelated compositions of different chants having a common melody. It concentrates on examination of a group of four interrelated Alleluias. Subsequent study of other organa, including Graduals and Office Responsories, will add to the findings which are offered here. Of the ninety-three chants provided with two-voice settings in the F version of the Magnus liber,2 thirty-four are for the Office and fifty-nine |
