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"Hiley, David"
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The Proper Office for St Pancras (Pancratius) in the Cluniac Breviary-Missal of Lewes, Cambridge, Fitzwilliam Museum, Ms. 369
A plainchant office (historia) for St Pancras was composed for the Cluniac monastery dedicated to the saint at Lewes, Sussex, England. The style of its Latin texts and melodies suggests a date close to the foundation of the monastery in 1077.
Journal Article
Balther of Säckingen, Bishop of Speyer, Composer of Chants for St Fridolin ca. 970
Balther of Säckingen was a remarkable scholar, writer and composer, who was born about 930, made bishop of Speyer in 970, and died in 986 or 987. Educated at the famous monastery in St. Gallen, he went as a wandering student in search of learning as far as North Spain. He had a special veneration for St Fridolin, founder of a convent in Säckingen. On his travels Balther found a copy of a Life of St Fridolin, memorized it, wrote it down on his return home, composed chants to be sung on the feast day of the saint, and sent both the Life (vita) and the chants (historia) to one of his former teachers at St. Gallen for approval. Balther says he composed them \"per musicam artem\", \"according to the art of music\". This paper tells how Balther's chants came to be composed and compares them with others in order to understand what was considered to be \"musical art\" around 970.
Journal Article
Music for saints’ historiae in the Middle Ages. Liturgical chant and the harmony of the universe
The article draws attention to a number of research initiatives in the area of liturgical plainchant, which have brought together scholars of different countries and disciplines. The number of primary sources is so great that cooperation is essential. In the first phase of modern scientific research, monks of the Benedictine Abbey of Solesmes played a crucial role, their combined efforts being rivalled by very few individual scholars. In the last quarter of a century, databases and computerized projects have been developed to which scholars from different countries can contribute and from which they can draw information, and these have to some extent replaced earlier communal efforts. When the seemingly uniform facade of plainchant is inspected closely it resolves itself into a multitude of overlapping traditions and styles: how many and how widespread they are can only be determined through international cooperation. Later stylistic phases, especially from the eleventh century onward, are influenced by a preoccupation with music as an aural reflection of the harmony of the universe.
Journal Article