Final Report 11th October 2006

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THE SAPIENTIA-PROJECT
Final report
Sapientia et Eloquentia:
Studies on Function and Meaning in Liturgical Poetry, Music, Drama and Biblical Commentary
in Monastic and Scholastic Cultures in the Middle Ages
(Vishet och vältalighet)
(Riksbankens Jubileumsfond. Kulturvetenskapliga donationen : K2000-5116:1, 2, 3, 4, 5-T)
Gunilla Iversen, Department of French, Italian, and Classical Languages, Stockholm University
THE INTENTION of the ‘Sapientia-project’ has been to explore and to try to shed further light on
presumed changes in functions, forms and interpretations of various genres of liturgical
poetry, representational - or dramatic - devotions, primarily from the ninth through the
twelfth centuries, as well as of medieval interpretations of this poetry and of Biblical poetry in
commentaries from the twelfth through the fifteenth century. We have tried to identify certain
changes in the relationship between poetry and music in theory and practice that begin to take
place in the transition from a largely monastic culture to a new, scholastic culture in twelfth
century Europe.
Members of the Sapientia-project
Alexander ANDRÉE, Fil.Dr, Institutionen för franska, italienska och klassiska språk, SU,
Sweden.
Nicolas BELL, Dr., Curator, Music Collections, The British Library, London, England
Marcia Sà CAVALCANTE SCHUBACK, Docent, Ass. Prof., Filosofiska institutionen,
Södertörns Högskola (Södertörn University College), Sweden.
Marie-Noël COLETTE, Prof., Directeur d’Etudes, École Pratique des Hautes Etudes (EPHE)
IV, Section des Sciences Historiques et Philologiques, Sorbonne, Paris, (et professeur
de Paléographie musicale au Conservatoire National Supérieur de Musique de Lyon
1988-2004), Lyon, France.
William FLYNN, Dr, Reader, Center for Medieval Studies, University of Leeds, England
Gunilla IVERSEN, Prof., Project leader, Institutionen för franska, italienska och klassiska språk,
SU, Sweden
Erika KIHLMAN, Fil.Dr, Institutionen för franska, italienska och klassiska språk, SU, Sweden
Nils-Holger PETERSEN, Prof., Leader of the Center for the Study of the Cultural Heritage of
Medieval Rituals, Det teologiske Fakultet, University of Copenhagen, Denmark.
Among other scholars and specialists involved in the research of the Sapientia-project the
following must be mentioned:
Prof. Dr Rainer BERNDT (Hugo von St-Viktor Institut, Mainz, Philosophisch-Theolologische
Hochschule Sankt Georgen, Theologische Fakultät, Frankfurt am Main), Prof. Pascale
BOURGAIN (École des Chartes, Sorbonne, Paris), the late Prof. Leonard BOYLE, O.P. (San
Clemente, Rome), Prof. Susan BOYNTON, Columbia Univ., New York), Prof. Jacques
COLETTE (Sorbonne I, Paris), Prof. Anders CULLHED, (Institutionen för litteraturvetenskap
och idéhistoria, SU), Prof. Gilbert DAHAN (EPHE, Paris), Prof. François DOLBEAU (EPHE,
Paris), Prof. em. Peter DRONKE (Cambridge), Prof. Margot FASSLER (Yale Institute for Sacred
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Music and the Arts), curator Marie-Thérèse GOUSSET (Bibliothèque nationale de France,
Paris), the late Prof. Pierre-Marie GY, O.P. (Couvent Saint-Jacques, Paris), the late Mme
Viviane HUCHARD (Musée National du Moyen Age, Paris), curator Elisabeth CLAVÉE, (Musée
National du Moyen Age, Paris), PhD Brian Møller JENSEN (Institutionen för franska,
italienska och klassiska språk, SU), Brigitte LESNE (Discantus, Centre de Musique médiévale,
Paris), Docent Päivi MEHTONEN (Comparative literature, Dept. of Art Studies, University of
Tampere, Finland), Prof. Erik PALAZZO (Centre d’études supérieures de civilisation médiévale,
Poitiers), Prof. Dominique IOGNA PRAT (Dir. Centre d’étude du Moyen Age, Université
d’Auxerre), Prof. em. Pierre RICHÉ (Paris X-Nanterre), Mr. Michael GULLICK, Dr. Tessa
WEBBER (Trinity College, Cambridge), Prof. Rosamond MC KITTERICK (Newnham College,
Cambridge), Dr. Susan RANKIN (Emmanuel College, Cambridge).
Report
Background
LITURGICAL POETRY AND THE COMMENTARY LITERATURE TO WHICH IT GAVE RISE were
naturally influenced by the fact that its authors lived in a fruitful tension between two parallel
and at the same time opposite literary traditions: one based on the classical Latin literature and
the other, the new Christian tradition, deeply influenced by texts of Hebrew and Greek origin.
This means, on the one side, a literary tradition cultivated within the studies in grammar and
rhetoric in the artes liberales, in what we might call a ‘didactic sphere’, that is, a sphere in which
the Homeric meter dominates, and where Virgil’s Aeneid is the first and predominant Latin
textbook. On the other hand there is the new literary Latin culture building on a Holy
Scripture and a Hebrew tradition cultivated in a liturgical and spiritual sphere. In this ‘liturgical
sphere’ the 150 Psalms constitute the first basic textbook learnt by heart, beside the Old
Testament prophets, the Apostles, the Canticles and the Apocalypse.
Evidently, many texts by authors belonging to the early monastic culture, texts, that in
our eyes can be best classified as poetry were regarded as exegetical or liturgical expressions
formed according to biblical and rhetorical models. ”Poetry” was a word used to refer to a
language in meter, or in a pejorative sense to something made up or false: ”fictiones”.
Obviously there was a conflict involved in the creation of new liturgical poetry and in the
interpretations of their place and function, in contrast to biblical poetry like the Song of Songs
or the Lamentations. It seems that we are today more open to reconsider as poetry, many of
the hymns, sequences and tropes, processional antiphons, new responsories, verses, that is,
liturgical poetic texts, which were cultivated in a mainly monastic context in the ninth through
the twefth centuries.
Liturgy itself was treated as a sacred poem full of hidden meaning, and became, like the
Sacra pagina, the object of elaborate interpretations and expositions by innumerable authors.
Among the first generations of Carolingian commentators, the liturgy became the subject of
allegorical and symbolical interpretations. Many authors like an Amalarius of Metz, or a
Rhabanus Maurus and their followers produced penetrating and suggestive interpretations of
all the different parts of the liturgy. Later new commentaries of liturgical poetry became a
genre in itself. Textual interpretation in the form of tropes commenting on the biblical words
of the chants can be seen as a kind of sung glosses within the liturgical celebration. Early
sequences often seem to function as a means to transform into a corporal vocal expression the
meaning of the originally Hebrew word ‘Alleluia’, as stated by Smaragdus of Mihiel. In his
commentary to the Rule of Benedict, Diadema monachorum he describes the ideal monastic
reading and singing, and in a passage on singing ‘Alleluia’ in the ninth century, Smaragdus
writes that the most important is not to bring sounds to the ears but light to the heart. To
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affect the mind, the words have to be sung. The poetry that was sung in the solemn
celebration of the liturgy was regarded as an act of devotion and prayer, an act of joyful praise.
In singing, the biblical words of the chants and the added verses were transformed into a vocal
action. It was vocally performed, vocally perceived, vocally learnt through imitation. In an
Augustinian tradition, the music, the wordless melisma, is the best way to express what the
words cannot say plainly. The words are loudly pronounced in resounding song, perceived by
the ear, kept in the heart. It seems significant that both ‘word’ and ‘voice’ are designated by
the word ‘vox’ and that the sound or ‘note’ and even the melody can be named ‘vox’ as well.
Naturally the words of Psalms, and especially the Psalms 148-150, greatly influenced the
language of the new liturgical poetry. In view of the great importance of the performance of
the liturgical poetry it is not surprising that certain authors, like Reginon of Prüm in the late
ninth century had located Poetria under Music rather than under Grammar or Rhetoric.
AMONG MODERN SCHOLARS OF LATIN LITERATURE, the authors of the new poetics, the
sophisticated masters of the new schools in the twelfth and thirteenth centuries have attracted
great interest and there are a number of studies on authors such as Bernard Silvestris, Alan of
Lille, Geoffrey of Winsauf, Matthew of Vendôme, John of Garland and other authors
influenced by the Latin translations of Aristotle’s philosophical, logical works and, later, also
by the Latin translation of his Poetics. Other scholars have limited themselves to the liturgical
genres as tropes and sequences, or so called ‘dramatic liturgy’ or ‘liturgical drama’ and mostly
concentrated on material from before the end of the twelfth century. Generally, however, the
literary and poetic writings represented in the two cultures that - in a simplified way - we call
‘monastic’ and ‘pre-scholastic’, or rather the writings belonging to a ‘liturgical’ and a ‘didactic
sphere‘ have generally been studied separately and not related to each other. The reasons for
this division in modern scholarship are of course many. One reason for this might be that,
unlike the poetry by the early auctores and Church Fathers - such as the Ambrosian hymns,
poetry by the early authors such as Venantius Fortunatus, Hilary of Poitiers or Gottschalc of
Orbais which were often also copied into books studied in the artes liberales, the major part of
the liturgical poetic texts such as tropes and sequences were normally written in liturgical
manuscripts placed among the libri divini together with biblical and liturgical texts as well as
with expositions and commentaries of the biblical texts. Thereby they were separated already
in the medieval libraries and catalogues from texts found in libri liberales. Also in modern
libraries and catalogues they are kept separately which means that these texts are often found
under the rubric ‘Liturgy’.
Results
THE SCHOLARS OF THE SAPIENTIA PROJECT HAVE
- searched for and identified representative commentary texts, liturgical poetry and
music, and dramatic liturgical representations,
- asked new questions and got new information from already known material,
- found a large number of until now unknown and unexplored manuscript sources,
- made the new material available in critical editions, translations, and analytic
studies.
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WHAT WE HAVE FOUND IN THESE STUDIES contradicts any assumption that an old monastic
tradition was simply being replaced by a new pre-scholastic and scholastic one in the twelfth
century. Crossing the boarders between ‘a liturgical sphere’ and a ‘didactic’ and even ‘prescholastic’ the authors rather seem to fertilize their writings with traits from both contexts. It
is certainly true that many pieces that were used in the old traditional liturgical repertories were
being replaced by new ones. What we witness is rather that the old texts, the old melodies, the
old figures are being re-interpreted, re-organized, expressed in new forms in an ambition to
present and explain them in new ways. This conclusion has made us modify the formulation
of the original name of the project ‘From wisdom to eloquence’, (Från vishet till vältalighet), into
Wisdom and eloquence’ (Vishet och vältalighet).
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Sapientia-workshops and international conferences
1. Sapientia-workshops
THE EIGHT MEMBERS OF THE PROJECT (AA, NB, MNC, MCS, WF, GI, EK and NHP) have
been working at our respective institutions. Here we have discussed ongoing works in our
own seminars, especially at Stockholm University in the Latin Seminar, the ‘Old-text Seminar’
(Äldretextseminariet), as well as in the Medieval Seminar.
Within the project, we have chosen not to organize any large conferences, but
concentrated on intense internal working meetings, the Sapientia-workshops, twice a year,
when we have met for around five days to discuss the work in progress. Here we have had the
pleasure to benefit from certain specialists invited to participate in the discussions on our
works in progress.
1. Spring 2001 at Sigtunastiftelsen and SU, Stockholm, Sweden
2. Autumn 2001 in Paris (EPHE, Sorbonne, BnF), France
3. Spring 2002 in Paris (EPHE, BnF, Musée nationale du Moyen Age), France
4. Autumn 2002 in Stockholm SU, and Prinsvillan, Tyresö, Sweden
5. June 2003 in Stockholm SU and Prinsvillan, Tyresö, Sweden
6. July 2004 in Cambridge, Emanuel College, England
7. Oct. 2005 in Auxerre, Centre d’études médiévales, France.
2. Sapientia-presentations at national and international seminars, conferences, and as
guest lectures outside our own departments:
Beside the Sapientia-workshops, we have presented and discussed parts of our works in
progress at relevant international conferences as well as in the form of guest-lectures and
seminars ouside our own institutions:
Conferences:
International Medieval Conference, Leeds, July 2001, England, (WF, NHP)
Pierre Abelard: Colloque international de Nantes, October 2001, Université de Nantes, France,
(NB, MNC, GI, WF, NHP, AA)
Association Internationale d’Etudes de chant grégorien, Paris, 1er décembre 2001, France, (MNC).
Conférence DEA, CESCM, Poitiers, February 2002, France, (MNC).
Conférence DEA, EHESS, Paris, March 2002, France, (MNC).
Hildegard in Hawaii, St. John's Episcopal Church, Keokea, east Maui, 8-10 March 2002, (WF)
International Medieval Conference, Leeds, July 2002, England, (WF, NHP)
IMS, Study Group Cantus Planus, Louvain, August 2002, Belgium, (MNC, WF, GI, NHP)
Medieval Latin Poetry. Fourth International Medieval Latin Conference, September 2002, Santiago de
Compostela, Spain, (GI, EK)
The Cultural Heritage of Medieval Rituals I. Genre and Ritual: Traditions and their Modificationa., Centre
for the Study of Medieval Rituals, Copenhagen university, December 2002, Denmark,
(AA, GI, NHP)
Lund. Medeltida kyrkometropol, Lund University, April 2003, Sweden, (GI)
Femte svenska filologkongressen (The fifth Swedish National Congress on Classical Philology), Lund
University, SE, May 2003 (EK)
International Medieval Congress, Leeds, July 2003, England, (AA, WF, EK, NHP)
Nova Cantica: International Symposium, University of Copenhagen, August 2003, (NHP)
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Au-dela de la description du monument, lire l’espace liturgique, UMR et Centre d’études superieures de
civilisation médiévale (CESCM), Poitiers, September 2003, France, (MNC, GI)
Bibel und Exegese in Sankt Viktor zu Paris.Form und Funktion eines Grundtextes im europäischen
Rahmen, Hugo von Sankt Viktor Institut, Mainz, April 2004, Germany, (GI)
La musique au Moyen Age: entre ordre et désordre, Cité de la musique, Paris, April 2004 (NB)
Yorkshire Archaeological Society Conference on Medieval Music. School of Music, University of Leeds,
15 May 2004, England, (WF)
International Medieval Conference, Leeds, July 2004, England, (GI, WF, NHP)
Conférence, Université de Sarrebruck, July 2004, Germany, (MNC).
IMS, Study Group Cantus Planus, Budapest, Lillafüred, August 2004, Hungary, (MNC, GI, NHP)
XI Colloque of the Société Internationale pour l'étude du Théâtre Médiéval, August 2004, Elx, Spain,
(NHP)
L’abbaye Saint-Corneille de Compiègne des origines à nos jours, Société Historique de Compiègne,
October 2004, France, (MNC, GI)
The Cultural Heritage of Medieval Rituals III: Confronting the Heritage, Centre for the Study of
Medieval Rituals, Copenhagen university, December 2004, Denmark, (AA, GI, NHP)
Medieval Latin Verse and Music: Form - Transformation - Performance, International Symposium
Erlangen Universität, January 2005, (NHP)
Perspectives on the Passion, Trinity College, Centre for Reception History of the Bible Oxford 1820 March 2005, England, (WF)
La Composizione del canto liturgico nel Basso Medioevo, Venise, Fondazione Levi, May 2005, Italy,
(NB, MNC)
Saint-Martial de Limoges: Ambition politique et production culturelle (Xe.XIIIe siècles, Poitiers, May
2005, France, (MNC, GI)
Sociologie de la musique de Max Weber, Paris, IRCAM, June 2005, France (MNC)
Monodia sacra medieval. Colóquio Internacional, Universidade Nova de Lisboa, June 2005, Portugal,
(NB, MNC, GI)
The MedRen (Medieval and Renaissance Music) Conference, July 2005, Tours, France, (NHP)
International Medieval Conference, Leeds, July 2005, England, (WF, NHP)
Nordisk Selskap for Interart-Studier, Oktober 2005, Växjö Universitet, (NHP)
Ars musica septentrionalis : de l'historiographie à la valorisation du patrimoine musical, November 2005,
Cambrai et Douai, France, (MNC, NHP)
Rhetoric Beyond Words, Balliol College, Oxford, 25 March 2006, England, (WF)
Millénaire de Fulbert de Chartres, Chartres, June 2006, France, (MNC with Prof. Jean-Yves
Hameline)
International Medieval Conference, Leeds, July 2006, England, (NHP)
The MedRen (Medieval and Renaissance Music)Conference, July 2006, Cambridge, England, (NHP)
IMS, Study Group Cantus Planus, Niederalteich, 29 August - 4 Sept. 2006, Germany, (GI, NHP)
Interpreting Medieval Latin Texts. Fifth International Medieval Latin Conference, Toronto, August
2006, Canada, (AA, GI, EK)
Colloque sur la musique dans la culture médiévale, Fondation Singer-Polignac sous l’égide d’Institut
de France, Paris, October 2006, France, (GI)
The International Studies in Medievalism Conference, October 2006, Columbus, Ohio,USA, (NHP)
Leaves of Paradise. The Cult of St John the Evangelist at the Domincan Nunnery of Paradies bei Soest,
Harvard University, USA, (EK)
42 International Congress of Medieval Studies, Kalamazoo, Michigan, May 2007, USA, (AA, MNC,
WF, GI, EK, NHP) See below !
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International Medieval Conference, Leeds, July 2007, England (?)
Seminars and guest lectures:
Musée du Moyen Age, Paris, Mars 2002, France, (GI, MNC)
The Latin Seminar, Stockholm University, guest lectures, 2001, 2005, Sweden, (WF, NHP)
Conservatoire National Supérieur de Musique de Paris, Sept-Oct. 2002, France, (MNC).
Aarhus University, Teol. Fakultet, January 2003, Denmark, (NHP)
La Société des Antiquaires de France, Le Louvre, Paris, 2003, France, (GI)
Séminaire de Pratique de L’eucharistie dans les Églises d’Orient et d’Occident (Antiquité et Moyen Age),
Institut Catholique, Paris 2004, France, (GI)
Candler School of Theology, Emory University, Atlanta GA, 28 February, 2005, US, (WF)
Late Medieval Music Research Seminar, All Souls’ College, Oxford, 17 Nov 2005, England, (NB, WF)
EPHE, Sorbonne, Paris, 2002, 2003, 2004, and as professeur invitée, March 2006, France, (GI)
The Copenhagen Doctoral School in Cultural Studies, Literature, and the Arts, June 2006, Univ. of
Copenhagen, Denmark, (NHP)
University of Leuven, Belgium, October 2006, (NHP)
The Sapientia-project will host three sessions at the 42 International Congress of
Medieval Studies, in Kalamazoo, Michigan, USA, 10-13 May 2007 in connection with
the publication of the final volume Sapientia et eloquentia :
Session I:
Liturgical poetry : old and new in interpretations, in text and music:
1. Gunilla Iversen, Stockholm University:
“Old and new? in proses to the Virgin from the 9th and 12th centuries”
2. Marie-Noël Colette, École Pratique des Hautes Études, Sorbonne, Paris.
“Old and new compositional models in Ordinary chants of the mass”
3. Lori Kruckenberg, Oregon University:
“The Wisdom of Words, The Eloquence of Melody:
Renewal of Chant Practices throughout the Middle Ages”
Presider: Prof. Charles M. Atkinson, Ohio State University
Session II :
New liturgical genres: sponsus, planctus, dramatic representations:
1. William Flynn, Medieval Institute, Leeds:
”The Paraclete Easter Liturgy after Abelard and Heloise”
2. Susan Boynton, Columbia University:
”Emblems of Lament in the Medieval Planctus”
3. Michael L. Norton, James Madison University Harrisonburg:
“What was ‘Liturgical Drama’”
4. Nils Holger Petersen, Copenhagen University:
“Liturgical Drama? Terminology and Substance”
Presider: Prof. Gunilla Iversen, Stockholm University
ßSession III
Old texts in new interpretations:
1. Alexander Andrée, Stockholm University/ Pontifical Institute, Toronto:
”Ordinary Glosses but Unusual Exegesis: Anselm of Laon, Gilbert the Universal and the Glossa ordinaria on
the Bible”
2. Erika Kihlman, Stockholm University:
“A new function for functional poetry.
The sequence commentary collection in Oxford, Bodleian Library, ms Auct. F. 6. 8.”
3. Janet Sorrentino, Washington College:
”Poems and Pedagogy in the Gilbertine Ordinal”
Presider: Prof. Susan Boynton, Columbia University
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PUBLISHED RESULTS
I. TWO DOCTORAL DISSERTATIONS:
The Sapientia-project has produced two critical editions with introductions of text genres that
have until today neither been studied nor made available in the form of critical editions.
Alexander Andrée has produced the first critical edition of the vast inedited genre represented
by the form of Biblical Commentary that came to be the Glossa Ordinaria, an edition of
Gilbertus Universalis Gloss to the Lamentations, a twelfth century text building on the ninth
century commentary by Paschasius Radbertus:
Another very special and until now unexplored area in the field of Medieval Latin
literature is represented by the sequence commentaries. This text material, which represents a
new field for research on medieval thinking and literary and scholarly creations, is here being
introduced and analyzed by Erika Kihlman
Both of these dissertations were commended as outstanding by their internationally
eminent examiners. Alexander Andrée won the prize Högskolepriset for the best thesis of the
year. He also was awarded a PIMS scholarship that makes him spend the scholarly year 20062007 at the Pontifical Institute for Medieval Studies in Toronto, Canada. After the publication
of her thesis, Erika Kihlman was immediately invited to give lecture in October 2006 on
Sequence Commentary material at Harvard University, USA.
1. Alexander ANDRÉE, Gilbertus Universalis: Glossa ordinaria in Lamentationes
Ieremie prophete. Prothemata et Liber I. A Critical Edition with an Introduction and a
Translation, Studia Latina Stockholmiensia 52, Acta universitatis Stockholmiensis,
(Stockholm, 2005), XIV+323 pp.; 3 plates.
The Glossa ordinaria on the Bible stands as one of the prime achievements of the period in
western intellectual history known as the Renaissance of the twelfth century. In spite of the
great number of still extant manuscripts very little is known about the circumstances around
its composition. This state of affairs is partly explained by the lack of modern and critical
editions of the books of the Glossa ordinaria.
The present work is the first critical edition of the Glossa ordinaria on the Book of
Lamentations, and consists of the forewords, or prothemata, and the first book (of five) of this
text, which was compiled early in the twelfth century by the theologian and Ciceronian
rhetorician Gilbert the Universal († 1134), schoolmaster at Auxerre and subsequently Bishop
of London.
The introduction includes a background sketch of the environment in which the Glossa
ordinaria was conceived – the school of Laon – with a short biography of Gilbert the
Universal, as well as a study of the sources of this particular book of the Gloss, chief among
them the ninth-century commentary of Paschasius Radbertus. It is shown that Gilbert’s major
improvement to his source, apart from drastically rewriting it, consists of the introduction of
Ciceronian rhetorical loci to the verses of Lamentations. The introduction furthermore
provides the reader with an analysis of the manuscript tradition of the early twelfth century
and a selective analysis of the later manuscript tradition (some 86 manuscripts have so far
been traced). One of the conclusions reached is that the Gloss on Lamentations exists in two
textual recensions, the one original, the other a later redaction made once the Gloss had
become a success and preserved in nearly all the later manuscripts. The manuscripts of the
first recension, which is the one edited in the present work, may be organised into a stemma
codicum consisting of two major families originating in a single archetype. It is possible to
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reconstruct this archetype on the basis of the five oldest manuscripts. An English translation
of the edited text is included, as well as a ‘semi-critical’ edition of the text of the second
recension.
An important part of the present work consists of an effort to combine the
sophisticated mise-en-page of the glossed manuscripts with the standards of presentation to be
expected of a modern critical edition.
Key words: Gilbert the Universal, Glossa ordinaria, Biblical exegesis, Old Testament,
Lamentations, Cicero, rhetoric, loci rhetorici, the school of Laon, the Renaissance of the twelfth
century, Paschasius Radbertus, editorial technique
2. Erika Kihlman, Expositiones sequentiarum. Medieval Sequence Commentaries and
Prologues. Editions with Introductions, Studia Latina Stockholmiensia 53, Acta
universitatis Stockholmiensis, (Stockholm 2006), X +356 pp.; 12 plates.
The sequence commentary emerged as a new branch of medieval commentary literature in the
twelfth century. The sequence itself, sung in the Mass before the reading of the Gospel, was a
hugely influential poetic and musical genre—thousands of sequence texts are known today—
but the fact that the Middle Ages also produced commentaries on this liturgical poetry has
been hitherto practically unknown.
At the close of the twelfth century, Alan of Lille († 1203) composed the Expositio prosae
de angelis, a commentary on the sequence Ad celebres rex. This text, which is one of very few that
have previously been edited, is the first currently known example of a genre that would grow
in importance and productivity in the centuries to come.
The present work is the first attempt at a broader presentation of the sequence
commentary. It makes available in modern editions seven separate expositions—all of them
previously unedited—on the sequence Ad celebres rex for the feast of St Michael. Introductions
to each edition discuss the motifs interpreted, the commentary technique used and some of
the sources drawn upon. Manuscript interrelations and textual problems are also treated here.
Through comparing and contrasting seven commentaries on the same sequence, most of them
taken from fourteenth- and fifteenth-century sources, both the continuity and the
development of the genre may be detected and different commentary techniques be identified.
In addition to the commentaries, editions of four prologues introducing collections of
sequence commentaries are inlcuded. These texts, though not specifically tied to the
commentaries on Ad celebres rex, are presented here as they attest to the interpretative
frameworks and methodological schemes chosen by the commentators.
The diverse and complex patterns of textual transmission found in these
commentaries and prologues have required three different editorial methods, which are
discussed in a separate chapter preceding the editions.
A general introduction surveys the complete sequence commentary material found to
date—a hundred manuscripts at the time of writing, deriving from both the Eastern and the
Western parts of Europe. From these numerous textual witnesses we may conclude that the
genre seems to have flourished mainly in the fourteenth and the fifteenth centuries. Most
manuscripts present large collections of commentaries on sequences for the whole liturgical
year, generally preceded by a prologue and sometimes accompanied by a corresponding
volume of hymn commentaries.
Key-words: commentary, prologue, sequence, Ad celebres rex, Alan of Lille, PseudoDionysius, Gregory the Great, the ‘Aristotelian tradition’, angels, hierarchy, angelic order,
glosses, etymology
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II. A
FINAL VOLUME CONTAINING INTERRELATED STUDIES BY THE MEMBERS OF THE
PROJECT:
Sapientia et eloquentia. Meaning and Function in Liturgical Poetry, Music, Drama
and Biblical Commentary in the Middle Ages, edited by Gunilla Iversen and Nicolas Bell,
Disputatio 11, (Turnhout: Brepols, forthcoming, 2007).
In a series of ‘case studies’ based on specific manuscript sources we present and discuss the
changing functions and forms of new literary genres within the liturgy - or loosely connected
with and rooted in the liturgy -and labelled in the sources and by different scholars with
different terms, as for instance ‘proses’ or ‘sequences’, ‘planctus’, ‘Latin lais’, or as ‘sponsus’,
‘play’, ‘ludus’ or ‘drama’, even as as ‘cantica canticorum’ and lamentationes lamentationum’, or
as ‘representational liturgy’.
Certain manuscripts that have not until today been included in literary studies of the
Middle Ages have been used as sources for our studies. In other cases, we have returned to
certain well-known manuscripts but asking new questions to the material. Such manuscript
sources are for instance the Antiphonary of Charles the Bald from the ninth century (Paris
BnF, lat. 17436), earlier studied by liturgists, but here studied from a new musical and poetic
point of view and in a literary and musical context as an early witness of sequences. On the
other hand the Aquitanian manuscript (Paris, BnF lat 1139), earlier studied by musicologists
and literary historians, is here being studied also from a liturgical point of view in connection
with the analysis of the ‘Sponsus’, or the proser-troper from Nevers, (Paris. BnF n.a. lat 3126),
that is now being used as an important source in connection with the question of the liturgical
writings and ideas of Abelard, and in studying possible relations between Aquitania and
Nevers-St Victor. Further we introduce several manuscript sources that have not been studied
nor even known before, such as one of the manuscripts containing Sequence commentaries,
(Oxford, Bodl. Libr. Auct. F.6.8) as well as the manuscript sources for Gilbertus Universalis’,
Gloss on Lamentations. Indices of all manuscripts referred to in the volume as well as of all
the authors and texts treated are found towards the end of the volume. The same medieval
authors are treated in several connected studies in the volume. The case studies are
interfoliated by ‘free philosophical reflections’ by Marcia Sà Cavalcante Schuback freely
lingering around certain essential and fundamental questions underlaying the studies in the
case studies. In a separate Anthology a number of the texts analyzed in the separate chapters are
being presented together with an English translation, some of them even with musical
transcription.
Summary and Table of Content
The first two case studies focus on new liturgical musical and poetic creations in the ninth
century. In the chapter Psallite regi nostro, psallite Gunilla Iversen analyzes interpretations and
functions of the singing of ’Alleluia’ and of the presence of the Maiestas Domini in ninth–
century poetry, and in the chapter on ‘the place and function of music in a liturgical context’,
Marie-Noël Colette presents and analyzes the earliest witnesses of sequences and versus ad
sequentias in the Antiphonary of Charles the Bald and other early sources.
The procedure of transforming an old text into a new, adapted to a new time can be
followed in Alexander Andrée’s study ‘From propheta plangens to rhetor divinus. Towards an
Understanding of the Rhetorical Hermeneutics of Gilbertus Universalis in his Gloss on
Lamentations’. This twelfth century text reflects renewed forms for Biblical commentaries
11
and glosses in the twelfth century pointing towards the creation of a Glossa ordinaria in the
works of the masters of Laon and Saint-Victor. In Gilbert’s gloss, the old commentary text of
Paschasius Radbertus in the ninth century is being reinterpreted and remodelled into a new
form, reflecting a renewed use of rhetorical devices in biblical glosses.
The mature Abelard’s writings for the liturgy of the Paraclete and his writings on
liturgical chants in a monastic context will be treated from musical, literary and liturgical points
of view. In this connection Epithalamica used as a sequence in the Easter liturgy in the
Paraclete is among the new compositions in Nevers and Aquitania in the twelfth century
treated by Marie-Noël Colette in her chapter on melodic proses and planctus or Latin lais in
Nevers, Paris and Aquitania, and by Gunilla Iversen in the chapter ‘From Jubilus to Learned
Exegesis, treating new liturgical poetry in the twelfth century based on the material in the
source Nevers. The liturgical and institutional context of Epithalamica is being further analysed
by William Flynn in his chapter ‘Letters, Liturgy and Identity: The Use of the Epithalamica at
the Paraclete’, analyzing the text in a liturgical context and following the discussions between
Abelard and Heloise concerning the liturgical texts to be used in the Paraclete.
Another well-known composition that has earlier been treated from a literary and
drama-historical aspect but is studied here by Nils Holger Petersen from a devotional and
theological point of view, is the ‘so called’ Sponsus in a twelfth-century Aquitanian manuscript,
in the chapter on reception, representational ritual and the question of ‘liturgical drama’, where
he tries to interpret the medieval traditions which by modern scholarship was understood as
‘liturgical drama’ into a recent discouse concerning liturgical (and biblical) representation.
Boethius’ writings on music represent other wellknown texts. They constantly re-occurr
in medieval discussions and in treatises revealing new ways both of understanding and using
musical theory, and of its relation to musical practice. Boethius was clearly being read,
understood and used in new ways, his words were taken up anew and re-interpreted during
later epochs by authors like John Scottus Erigena in the ninth century, Jean de Murs, Jacques
de Liège and Walter Odington in the fourteenth century. Here different reinterpretations and
uses are treated by Nicolas Bell in his chapter on ‘The Function of Music and Ars musica.
Readings and Interpretations of Boethius’s De Musica.’
A very special and until now unexplored area in the field of Medieval Latin literature is
represented by the sequence commentaries. This text material, which represents a new field
for research on medieval thinking and literary and scholarly creations, is here being introduced
and analyzed by Erika Kihlman in the chapter ‘Understanding a Text. Presentation and
Edition of a Sequence-Commentary in Oxford, Bodleian Library, MS Auct.F.6.8.’ She
presents an edition of a thirteenth-century commentary on the three early sequences Alma
chorus domini, Alle celeste and Ad celebres rex.
12
Sapientia et eloquentia
Table of Content:
Introduction
GUNILLA IVERSEN AND NICOLAS BELL
Singing ’Alleluia’ in Ninth–century Poetry
GUNILLA IVERSEN
The place and function of music in liturgical context. The earliest witnesses of sequences and versus ad
sequentias in the Antiphonary of Charles the Bald and other early sources
MARIE-NOËL COLETTE
Nunc et in aevum:
Reflections on St. Augustine: time, music and theology
MARCIA SÀ CAVALCANTE SCHUBACK
From propheta plangens to rhetor divinus
Towards an Understanding of the Rhetorical Hermeneutics of Gilbertus Universalis in His Gloss to the
Lamentations
ALEXANDER ANDRÉE
Biblical Reception, Representational Ritual and the Question of Liturgical Drama
NILS-HOLGER PETERSEN
From Jubilus to Learned Exegesis.
New Liturgical Poetry in the Twelfth Century. The Case of Nevers
GUNILLA IVERSEN
Melodic proses and planctus in Nevers, Paris and Aquitania
MARIE-NOËL COLETTE
Letters, Liturgy and Identity: The Use of the ’Sequence’ Epithalamica at the Paraclete
WILLIAM FLYNN
Sancta sonantia:
Reflections on sounding and meaning’
MARCIA SÀ CAVALCANTE SCHUBACK
The Function of Music and Ars musica.
Readings and Interpretations of Boethius’s De Musica
NICOLAS BELL
Understanding a Text. Presentation and Edition of a Sequence-Commentary in Oxford, Bodleian Library,
MS Auct.F.6.8.’
ERIKA KIHLMAN
Anthology
Indices
Plates
Bibliography
13
4. PUBLICATIONS BY THE MEMBERS IN CONNECTION WITH THE SAPIENTIA-PROJECT
Numerous separate articles have been and are being published by the members as pilot studies
and parts of the research work od the Sapientia-project:
Alexander ANDRÉE
Books
Gilbertus Universalis: Glossa ordinaria in Lamentationes Ieremie prophete. Prothemata et Liber I. A Critical Edition with an
Introduction and a Translation, Acta Universitatis Stockholmiensis, Studia Latina Stockholmiensia, 52
(Stockholm: Almqvist & Wiksell International, 2005).
Articles
‘From propheta plangens to rhetor divinus: Towards an Understanding of the Rhetorical Hermeneutics of Gilbert the
Universal in his Gloss on Lamentations’, c. 35 pp., article for the volume Sapientia et eloquentia. Meaning and
Function in Liturgical Poetry, Music, Drama and Biblical
Commentary in the Middle Ages, edited by Gunilla Iversen and Nicolas Bell, Disputatio 11,
Thurnout, Brepols, 2007).
‘Lachrymose Eloquence: Roman Rhetoric and Hebrew Legacy in Gilbert the Universal’s Gloss on
Lamentations’, Negotiating Heritage: Memories of the Middle Ages, ed. Nils Holger Petersen and Mette B.
Bruun (Turnhout: Brepols, forthcoming, 2007).
‘“Et factum est”: The Commentary to the Prologue to the Book of Lamentations in the Manuscript Paris,
Bibliothèque nationale de France, lat. 2578’, Revue Bénédictine
(forthcoming, 2007).
‘The Rhetorical Hermeneutics of Gilbert the Universal in his Gloss on Lamentations’, Fifth International Congress
on Medieval Latin Studies, Interpreting Latin Texts in the Middle Ages (ca. 500 – ca. 1500) in Toronto, Canada,
August 2006, Medieval Latin Studies, (Turnhout: Brepols, forthcoming, 2007).
In preparation
The University Sermons of Master Christopherus Laurentii de Holmis, a critical edition and textual study of the five
extant university sermons and two disputations by Christopher of Stockholm, Doctor of Theology, at
the University of Leipzig in the 1430s.
Glossa ordinaria in evangelium sancti Iohannis: A Critical Edition with an Introduction in English, an edition of a very
important part of the biblical Gloss, allegedly compiled by Master Anselm of Laon.
Glossa ordinaria in Lamentationes Ieremie prophete, a complete critical edition of the forewords and books 1–5, to be
published by Brepols in their series Corpus Christianorum. Continuatio mediaevalis.
Nicolas BELL
Books
Medieval Music in Manuscripts(London: BL, 2001).
The Las Huelgas Codex: a Companion Study to the Facsimile, Scriptorium Collection, 7 (Madrid: Testimonio, 2003;
Spanish translation, 2004).
co-editor of Signs of Change: Transformations of Christian Traditions and their Representation in the Arts, 1000-2000
(Amsterdam: Rodopi, 2004).
co-editor of Sapientia et eloquentia. Meaning and Function in Liturgical Poetry, Music, Drama and Biblical Commentary in the
Middle Ages, edited by Gunilla Iversen and Nicolas Bell, Disputatio 11, (Turnhout: Brepols, forthcoming,
2007).
Articles
"The status of the music scribe: the case of the Las Huelgas Codex", Le Statut du Scripteur au Moyen-Age, M.-C.
14
Hubert & E. Poulle, eds., Paris, Ecole des Chartes, 2001, pp.161-166.
"The compilation and mis-en-page of the Las Huelgas Codex", Fuentes musicales en la Peninsula Iberica, 500-1500,
ed. M.-C. Gomez & M. Bernado, Lleida: Insituts d'Estudis Ilerdencs, 2002, pp.97-108.
“Les planctus d'Abélard et la tradition tardive du planctus" Pierre Abélard. Colloque international de Nantes, éd. Jean
Jolivet & Henri Habrias, Presses Universitaires de
Rennes, 2003, pp.261-266.
"Signs of change from ars antiqua to ars nova in polyphonic music of the early fourteenth
century", in Signs of Change: Transformations of Christian Traditions and their Representation
in the Arts, 1000-2000, ed. N. H. Petersen, C. Clüver and N. J. Bell, 2004, pp. 363-372.
”La place de la musique parmi les arts libéraux pendant le Moyen Âge tardif”, in Les représentations de la musique au
Moyen Âge, ed. Martine Clouzot & Christine Laloue, Les cahiers du Musée de la musique, 6 (Paris: Musée
de la Musique, 2005).
”Between mensural and non-mensural notation of sequences in the fourteenth century", in Il canto fratto: l'altro
gregoriano, ed. Marco Gozzi (Rome, 2006).
”The Function of Music and Ars musica. Readings and Interpretations of Boethius’s De
Musica”, in Sapientia et eloquentia. Meaning and Function in Liturgical Poetry, Music, Drama
and Biblical Commentary in the Middle Ages, edited by Gunilla Iversen and Nicolas Bell, Disputatio 11, (Turnhout:
Brepols, forthcoming, 2007).
”Music”, in The Cambridge History of the Book in Britain, vol. 2, 1100-1400 (Cambridge, forthcoming).
”The Iberian Peninsula”, in The Cambridge Companion to Medieval Music (Cambridge, forthcoming)
”The Sequence Repertory of the Sarum Rite”, in Festskrift Gunilla Iversen (Stockholm, forthcoming)
Book reviews in The Book Collector, The Medieval Review, Plainsong & Medieval Music, Times Literary Supplement, The
Library, Brio, Early Music History, etc.
+ Several unpublished conference papers
Marcia Sà CAVALCANTE SCHUBACK
Books
Para ler os medievais - Ensaio de hermenêutica imaginativa, (Reading Miiddleage - Essays on imaginative
hermeneutics) ed. Vozes, Petrópolis, 2000.
Dissonansskrift. En bok om tanke och musik, Stockholm, 2003.
Lovtal till intet – essäer om antikens hermeneutik, Glänta produktion Förlag, Göteborg, 2006
Articles
La perpléxité de la présencein Les Etudes Philosophiques.Juillet-septembre, 2002, PUF, Paris, p. 257- 279.
Philosophy and Religion i svensk Teologisk kvartalskrift 2002, årgång 78
I rummets tomrum i Samtidighet- om rum för ritualer, Statens konstråd, 2002, red. Ann Magnusson
Till grekerna själva. Anteckningar om antikens hermeneutik hos Gadamer, i Filosofiska studier, Södertörns högskola
15
publikations serie, 2003
The poetics of languagei Metaphysics, Facticity, Interpretation, Phenomenology in the Nordic countries, Klüwer
Academic Publishers, 2003.
A crise do tempo e o tempo da abnegação, (The crisis of time and the time of abnegation. About the medieval
experience of knowlegde, sapientia and its relation to the horizon of time), Scintilla.Revista de Estudos de
Mí­stica e Teologia Medievais, nr.1, Curitiba, 2003.
Efterord till den nya utgåvan av Immanuel Kants Religionen inom det blotta förnuftets gränser. Natur och Kultur,
Stockholm, 2004.
O medieval e o saber da abnegaçãoi Scintilla. Revista de Filosofia e Mistica Medieval, vol1, nr 1, Paraná: FFSB, 2004,
p. 35-50
Schelling and the work of experience.i Schelling now. Contemporary Readings. Bloomington: Indiana University Press,
2005
Understanding Conscience.. A respons to Wenche Marit Quist i Nwip, i Philosophical Aspects on Emotions, Thales
Föralg, Stockholm, 2005.
Ulysses at the Masti A feast of Logos. Georgia Philosophy Series, editors J. Wirth, M. Schwartz, D. Jones, Georgia,
Atlanta, 2005, p. 67-83.
Die Gabe und Aufgabe des Währendeni Studia Phaenomenologica, Romanian Journal for Phenomenology.Vol.
V/2005. Bucharest: Humanitas. 2005, s. 201-214.
Philosophie et Religioni L’Orient des dieux, vol. V, 2005, Université Saint-Joseph, Faculté des sciences religieuses,
Beyrouth, 2005.p. 5-18.
Filosofia e Religiãoi Scintilla. Revista de Filosofia e Mística Medieval, vol. 2, n.2, jul/dez. 2005, Curitiba: FFSB,
2005, p. 217-234.
Mito e Arte ou do pensar sem pensamentos: a contribuição de Schellingi Sofia. Revista semestral de filosofia, vol X, nr 1314, Vitória: UFES, 2005, p. 203-229.
The Experience of Historyi The Past’s Presence. Essays on the Historicity of Philosophical Thought. Södertörn
Philosophical Studies, n.3, (Stockholm: Södertörn Philosophical Studies, 2005, s. 93-109.
Nunc et in aevum: Reflections on St. Augustine: time, music and theology in, Sapientia et eloquentia. Meaning and
Function in Liturgical Poetry, Music, Drama and Biblical. Commentary in the Middle Ages, edited by Gunilla
Iversen and Nicolas Bell, Disputatio 11, Thurnout, Brepols, 2007).
Sancta sonantia: Reflections on sounding and meaning Sapientia et eloquentia. Meaning and Function in Liturgical Poetry,
Music, Drama and Biblical Commentary in the Middle Ages, edited by Gunilla Iversen and Nicolas Bell,
Disputatio 11, (Turnhout: Brepols, forthcoming, 2007).
+ Several unpublished conference papers
Marie-Noël COLETTE
Books
Le sacre royal à l’époque de saint Louis, en collaboration avec J. Cl. Bonne, J. Le Goff, E. Palazzo. Paris, Gallimard,
2001.
Histoire de la Notation du Moyen Age à la Renaissance, en collaboration avec M. Popin, Ph. Vendrix. Minerve/CESR,
Paris/Tours, 2003.
16
Tropaire Séquentiaire Prosaire Prosulaire de Moissac, Troisième quart du . XIe s. Manuscrit Paris, Bibliothèque .nationale de
France, N.a..l. 1871. Fac-sim. Edition, introduction et index par Marie-Noël Colette. Analyse de
l’écriture et de la décoration par Marie-Thérèse Gousset. Paris, SFM, 2006 (Publications de la Société
française de Musicologie, 1e s., t. XXVII).
Articles
”Le palimpseste de Turin, Paris, B.N.F., Grec 2631. Son environnement liturgique et musical ”, Mediaeval
Music Cultures on the Eastern and Western Shores of the Adriatic until the beginning of the 15th Century,
(Proceedings of the International Musicological Symposium held in Split Croatia, on May 21-24, 1997),
ed. St. Tuksar, Zagreb, 2000, pp. 285-302.
”Les Jeux liturgiques. Sens et representations”, Revue de Musicologie, t. 86, 2000/1. Introduction (pp. 5-8) et édition
du numéro spécial consacré au colloque tenu au Centre Culturel de l’Ouest (Abbaye de Fontevraud, 4-6
avril 1996).
”Analyse du manuscrit Montpellier H 159’, tonaire de Dijon, XIe s., Introduction et notiges”, Cantor et Musicus,
CD ROM de la Bibliothèque Interuniversitaire de Montpellier, Montpellier, 2000.
”Le Chant, expression première de l’oralité dans la liturgie medievale”, Voix et parole. Oralité de la liturgie, La
Maison Dieu, 226 (2001), pp. 73-93.
”Un ensemble de planctus attribué à Abélard dans un prosaire nivernais (Manuscrit Paris, BNF, n.a.l. 3126)”,
Pierre Abélard. Colloque international de Nantes, éd. Jean Jolivet & Henri Habrias, Presses Universitaires de
Rennes, 2003, pp. 277-294.
”Analyse du ms. BnF, lat. 776. Graduel de Gaillac, XIe s”, Il Cod. Paris Bibliothèque nationale de France Lat. 776. Sec.
XI Graduale di Gaillac. Ed. facsim. coul., N. Albarosa, H. Rumphorst, A. Turco, Padova, La Linea editrice,
2002, pp.VII-XVIII.
”Sequences et versus ad sequentias dans l’antiphonaire de Charles le Chauve (Paris, BnF, Lat.17436)”, Revue de
Musicologie, t.89 (2003), pp. 5-29.
”La Notation musicale en Champagne dans le haut Moyen Age ”, La Vie en Champagne, nouv. Série, 36 (oct./déc.
2003), Moyen Age en Musique, pp. 58-62.
”Fac-similés de chant grégorien au XIXe siècle. La copie du tonaire de Dijon par Théodore Nisard (1851) ”,
IMS Intercongressional Symposium. Budapest, & Visgrad, august 2000. Budapest, 2003, II, pp. 389- 421.
”Le Chant de la Sibylle, composition, transmission et interprétation ”, La Sibylle. Parole et représentation, dir. M.
Bouquet et Fr. Morzadec, Presses Universitaires de Rennes, (Collection Interférences ), 2004, pp.165176.
”Le graduel de Gaillac (Pn Lat. 776) et le tropaire de Moissac (Pn Nal. 1871). Deux manuscrits aquitains
contemporains, 3ème quart du XIe siècle”, Cycle thématique sur les manuscrits liturgiques. Paris, IRHT, 2004. 6
p. publié dans le site Web de l’IRHT.
« Actualité de la Musique du Moyen Age », Cahiers Saint-Dominique, 275 (2004/mars), p. 43-46.
« Gallican, romain et grégorien : l’ornementation », L’Art du chantre carolingien, dir. Ch.J.Demollière. Metz, Ed.
Serpenoise, 2004, p.155-160.
« La Musique de la liturgie médiévale », dans Actes du Congrès de la Fédération Internationale des Instituts d'Etudes
Médiévales (FIDEM) Barcelone, 8-12 juin 1999, ed. J. Hamesse Louvain-la-Neuve, (Bilan et perspectives
des études medievales) Brepols, 2004, p.587-612. (FIDEM. Textes et Etudes du Moyen Age, 22).
17
« Musique pour la Dédicace de Sainte-Marie de Compiègne ». L’Abbaye Saint-Corneille de Compiègne des origines à nos
jours. Bulletin de la Société historique de Compiègne, 39 (2005) p.71-81.
« Jérusalem mirabilis, la datation du manuscrit Paris, BnF latin 1139 », Saint-Martial de Limoges. Ambition politique et
production culturelle (Xe-XIIIe siècles), éd. Cl. Andrault-Schmitt. Limoges, Pulim, 2006 p.489-501.
« L’Influence des mélodies aquitaines sur la composition de chants de l’0rdinaire aux XI-XIIèmes siècles, le
Sanctus IV. Musica e storia, XIV/1 (forthcoming 2006), p.(1-20).
”The place and function of music in liturgical context. The earliest witnesses of sequences and versus ad
sequentias in the Antiphonary of Charles the Bald and other early sources, Sapientia et eloquentia. Meaning
and Function in Liturgical Poetry, Music, Drama and Biblical Commentary in the Middle Ages, edited by Gunilla
Iversen and Nicolas Bell, Disputatio 11, Turnhout: Brepols, forthcoming, 2007).
“Melodic Proses and Planctus in Nevers, Paris and Aquitania”, Sapientia et eloquentia. Meaning and Function in
Liturgical Poetry, Music, Drama and Biblical Commentary in the Middle Ages, edited by Gunilla Iversen and
Nicolas Bell, Disputatio 11, (Turnhout: Brepols, forthcoming, 2007).
« Le prosaire de l’ordre de Grandmont (Paris, BnF, n.a.l. 2680, XIVe s. in.) ». Colloque Monodia sacra medieval,
Lisbonne-Evora, 4-5 juin 2005, dir. M.P. Ferreira (forthcoming).
« Séquences et proses dans des manuscrits du nord de la France aux IXe et Xe siècles ». Cambrai Douai
Communication Colloque Cantus. Patrimoine musical du Nord de la France, Cambrai-Douai 24-26 nov. 2005
(forthcoming).
"Rapports sur les Conférences", assurées depuis 1990, dans E.P.H.E., Sciences Historiques et Philologiques, Livret (7-9,
1995 --).
Programmes and CD-booklets
Les Trois Maries. Messe de Pâques. Ensemble Gilles Binchois, dir. Dominique Vellard, (Virgin Veritas, 2000, 5
45398 2 4). (Programme de l’office et de la messe de Pâques).
Quem quaeritis. Ensemble Discantus sous la direction de Brigitte Lesne. (Opus 111, 2000,
OPS 30269).
Eya pueri. Ensemble Discantus sous la direction de Brigitte Lesne. (Opus 111/Naïve, 2001, OP 30207).
Compostelle. Le Chant de l’étoile. Ensemble Discantus sous la direction de Brigitte Lesne. 2003 (Jade 301 654 2).
Mare nostrum.. Ensemble Discantus sous la direction de Brigitte Lesne. 2004 (Jade 301 685 2).
Universi populi. Chants sacrés à Prague du XIIe au XVe siècle. Ensemble Discantus sous la direction de Brigitte Lesne.
2006. (Zig zag territoires ZZT060601).
Collaboration au film « Le chant perdu de Grégoire », réal. A. Escriva, Prod. Les Films d’ici, 2005
+ Several unpublished conference papers
William T. FLYNN
Books
Medieval Music as Medieval Exegesis, The Scarecrow Press Inc., Lanham, Maryland, and London, 1999, 269pp.
Articles:
”Liturgical Music”, Chapter 30 in Oxford History of Christian Worship, ed. G. Wainwright and K WesterfieldTucker (Oxford University Press: New York, 2006), pp. 769-792.
18
”The 'Contextualisation' of Hildegard von Bingen: A Report on Recent Research”, Bulletin of International Medieval
Research, (2002), pp. 1-12.
” ’The Soul is Symphonic’: Meditation on Luke 15:25 and Hildegard of Bingen’s Letter 23”, in Music and Theology:
A Festschrift for Robin Leaver, ed. Dan Zager (Lantham MD: Scarecrow Press, (forthcoming December
2006), pp. 1-8.
”In Persona Mariae: Singing the Song of Songs as a Passion Commentary”, in Perspectives on the Passion, ed.
Christine Joyne (T & T Clark: Edinburgh (forthcoming, 2007).
“Letters. Liturgy and Identity: The Use of the ’Sequence’ Epithalamica at the Paraclete Sapientia et eloquentia.
Meaning and Function in Liturgical Poetry, Music, Drama and Biblical Commentary in the Middle Ages, edited by
Gunilla Iversen and Nicolas Bell, Disputatio 11, (Turnhout: Brepols, forthcoming, 2007).
+ Several unpublished conference papers
Gunilla IVERSEN
Books
Chanter avec les anges. Poésie dans la messe médiévale: interprétations et commentaires, Les éditions du cerf, Paris, 2001. 330pp.
Co-editor: Sapientia et eloquentia. Meaning and Function in Liturgical Poetry, Music, Drama and Biblical Commentary in the
Middle Ages, edited by Gunilla Iversen and Nicolas Bell, Disputatio 11, (Turnhout: Brepols, forthcoming,
2007).
Articles
”Skrivandets lust och skam. Hildegard av Bingen och Bernhard av Clairvaux”, Från innerlighet till ytterlighet.
Hildegard av Bingen (1098-1179), ed. M. Mayers & T. Pettersson, Artos, 2000, pp. 75-100.
”Realiser une vision. La dernière vision de Scivias et le drame Ordo Virtutum de Hildegarde de Bingen”, Revue de
musicologie, tome 86 (2000), ed. Marie-Noël Colette, pp. 37-63.
”Transforming a Viking into a Saint. The Divine Office of Saint Olav", The Divine Offfice in the Latin Middle Ages.
Methodology and Source Studies, Regional Developments, Hagiography, ed. R. Baltzer & M. Fassler, Oxford
University Press, 2000, pp. 401-429.
”O vos angeli. The celestial choirs in Hildegard’s lyrical texts in the context of her time”, Im Angesicht Gottes suche
der Mensch sich selbst, ed. Rainer Berndt, SJ, Mainz, 2001, pp. 81-105.
”Viriditas. Livets kraft hos Hildegard av Bingen”, Språkbitar, ed. J. Nystedt, Stockholm 2001, pp. 169-171.
”Kärt barn har många namn : 113 ord för ’att sjunga’ i medeltida latin”, Språkbitar, ed. J. Nystedt, Stockholm
2001, pp. 54-56.
”Verba canendi” in Tropes and Sequences. Latin Culture in the Eleventh Century. (Proceedings of the Third
International Conference on Medieval Latin Studies. Cambridge, September 9-12 1998.) Publications of The
Journal of Medieval Latin, 5, ed. Michael W. Herren, C.J. McDonough, and Ross G.Arthur, Brépols (2002),
pp. 444-473.
”Abélard et la poésie liturgique”, Pierre Abélard. Colloque international de Nantes, ed. Jean Jolivet & Henri Habrias,
Presses Universitaires de Rennes, 2003, pp. 233-260.
”Liturgisk poesi på 1100-talet. Mellan monasticism och skolastik”, Stiftshistoriska Sällskapet i Lunds stifts årsbok
2004, Arcus, Lund, 2004, 69-103.
19
”Fictiones or figurata ornamenta?, Signs of Change: Transformations of Christian Traditions and their Representation in the
Arts, 1000-2000, ed. N. H. Petersen, C. Clüver and N. J. Bell, Rodopi, Amsterdam-New York, 2004, pp.
341-361.
”Medieval liturgy, liturgical music and poetry. A short rapport”, Actes du Congrès de la Fédération Internationale des
Instituts d'Etudes Médiévales (FIDEM) Barcelone, 8-12 juin 1999, ed. J. Hamesse Louvain-la-Neuve, (Bilan et
perspectives des études medievales,,, Brepols, 2004, pp. 561-575.
”A la recherche d’une poétique de la poésie liturgique. Réflexions autour des séquences de l’Antiphonaire de
Charles le Chauve”, Poesía Latina Medieval (siglos V-XV). IV Congreso international de latin medieval. (Santiago de
compostela 12-15 septiembre 2002), ed. Manuel Diaz e Diaz & Manuela Dominguez, Firenze: Sismel, 2005,
pp. 891-903.
”L’éspace sacré et poésie liturgique: Proses pour la Dédicace d’une église.” (Cinquante années d’études médiévales.
CESCM Poitiers 2003), Brépols, 2006, pp. 409-422.
“Variatio delectat. La variation comme méthode de composition dans les tropes du Gloria à Saint-Martial au XIe
sièvle”, Saint-Martial de Limoges.Ambition politique et production culturelle (Xe-XIIIe siècles, ed.
Cvlaude Andrault-Schmitt, Presse universitaire de Limoges, 2006, pp.431-454.
”Poésie liturgique et célébration eucharistique dans des répertoires du neuvième aux treizième siècles”, Pratiques
de l’Eucharistie dans les Eglises d’Orient et d’Occident (Antiquité et Moyen Âge, éd. Nicole Bériou,
Études Augustiniennes, (forthcoming).
”Lex est umbra futurorum. Exégèse Biblique et Poésie liturgique à Saint-Victor, Bibel und Exegese in Sankt Viktor zu
Paris, ed. Rainer Berndt, Corpus Victorinum, (forthcoming).
”Introduction”, Sapientia et eloquentia. Meaning and Function in Liturgical Poetry, Music, Drama and Biblical Commentary
in the Middle Ages, edited by Gunilla Iversen and Nicolas Bell, Disputatio 11, (Turnhout: Brepols,
forthcoming, 2007).
”Psallite regi nostro, psallite. Singing ’Alleluia’ in Ninth–century Poetry , Sapientia et eloquentia. Meaning and Function in
Liturgical Poetry, Music, Drama and Biblical Commentary in the Middle Ages, edited by Gunilla Iversen and
Nicolas Bell, Disputatio 11, (Turnhout: Brepols, forthcoming, 2007).
”From Jubilus to Learned Exegesis. New Liturgical Poetry in the Twelfth Century. The Case of Nevers”,
Sapientia et eloquentia. Meaning and Function in Liturgical Poetry, Music, Drama and Biblical Commentary in the
Middle Ages, edited by Gunilla Iversen and Nicolas Bell, Disputatio 11, (Turnhout: Brepols, forthcoming,
2007).
+ several unpublished conference papers
Erika KIHLMAN
Books
Expositiones sequentiarum. Medieval Sequence Commentaries and Prologues.
Editions with Introductions, Studia Latina Stockholmiensia 53, Acta universitatis Stockholmiensis,
Stockholm 2006.
Articles
“Understanding a Text. Presentation and Edition of a Sequence-Commentary in Oxford, Bodleian Library,
MS Auct.F.6.8.’ Sapientia et eloquentia. Meaning and Function in Liturgical Poetry, Music, Drama and Biblical
Commentary in the Middle Ages, edited by Gunilla Iversen and Nicolas Bell, Disputatio 11, (Turnhout:
Brepols, forthcoming, 2007).
In preparation
20
“Medieval sequence commentaries”, in Interpreting Latin Texts in the Middle Ages. Proceedings from the Fifth
International Congress on Medieval Latin Studies, edited by Michael Herren (Toronto: Publications of the
Journal of Medieval Latin, forthcoming).
“From devotional to grammatical. Commentaries on Verbum Dei Deo natum in fourteenth- and fifteenthcentury manuscripts with an edition and translation of the commentary in Klagenfurt,
Universitätsbibliothek, Cart. 133”, to be published in the proceedings volume of the conference Leaves
of Paradise. The Cult of St John the Evangelist at the Domincan Nunnery of Paradies bei Soest, edited by Jeffrey
Hamburger, Houghton Library Studies 1.
Expositiones sequentiarum. A critical edition of the complete sequence commentary in Klagenfurt,
Universitätsbibliothek, Cart. 133.
Master Bero’s Books. An edition and a study of the register from the 1470s of the books bequeathed to Skara
cathedral by Bero Magni, Master at the Faculty of Arts at the University of Vienna from 1433–1465,
to be published in a volume devoted to the writings of Bero Magni, by Runica et Mediævalia,
Stockholm.
Medieval Latin Teaching. A study of Bero Magni’s commentary on Alexander de Villa-Dei’s Doctrinale.
Nils Holger PETERSEN
Books
Co-editor:, Signs of Change: Transformations of Christian Traditions and their Representationin the Arts, 1000-2000, ed.
Nicolas Bell, Claus Clüver, and Nils Holger Petersen, Rodopi, Amsterdam-New York, 2004.
Co-editor: The Appearances of Medieval Rituals: The Play of Construction and Modification Disputatio 3. ed. Nils Holger
Petersen, Mette Birkedal Bruun, Jeremy Llewellyn, and Eyolf Østrem (Turnhout: Brepols, 2004).
Co-editor: Genre and Ritual: The Cultural Heritage of Medieval Rituals, ed. Eyolf Østrem,MetteBirkedal Bruun,Nils
Holger PetersenandJens Fleischer(eds), (Copenhagen: Museum Tusculanum Press, 2005).
Co-editor: Creations: Medieval Rituals, the Arts, and the Concept of Creation Ritus et Artes 2. ed. Sven Rune Havsteen,
Nils Holger Petersen, Heinrich W. Schwab and Eyolf Østrem (Turnhout: Brepols, forthcoming 2007).
Co-editor: Architectural and Ritual Construction: The Medieval Cathedral of Trondheim in a European Context Ritus et
Artes 3. Edited by Margrete Syrstad Andås, Øystein Ekroll,Andreas Haug, and Nils Holger Petersen
(Turnhout: Brepols, forthcoming 2007).
Articles
"Les textes polyvalents du Quem quaeritis à Winchester au dixième siècle", Revue de Musicologie 86/1(2000), pp. 10518.
"Liturgy and Ambiguity in J.P.E. Hartmann and Hans Christian Andersen's Little Kirsten (1846)", Medievalism:
The Year's Work for 1995. Holland, Michigan: Studies in Medievalism/Thomson-Shore, Inc., James
Gallant, ed., 2000, pp. 50-62.
"Sedit angelus ad sepulchrum: Reading the Words and Music of a Processional Easter Chant", Cantus Planus.
Papers Read at the 9th Meeting, Esztergom & Visegrád, Hungary, 1998, ed. Laszlo Dobszay, Budapest:
Hungarian Academy of Sciences, Institute for Musicology, 2001, pp. 611-24.
"Ritual og teologi: J.P.E. Hartmann og H.C. Andersen's Liden Kirsten (1846)", Transfiguration Nordisk tidsskrift for
Kunst og Kristendom, vol.III, København 2002, pp. 77-92.
"Les planctus d'Abélard et la tradition des drames liturgiques", Pierre Abélard. Colloque international de Nantes, éd.
Jean Jolivet & Henri Habrias, Presses Universitaires de Rennes, 2003, pp. 267-276.
21
"The Representational Liturgy of the Regularis concordia", White Mantle of Churches. Architecture, Liturgy, and Art
around the Millenium, ed. Nigel Hiscock Turnhout: Brepols, 2003, pp. 107-117.
"Introduction", Signs of Change: Transformations of Christian Traditions and their Representationin the Arts, 1000-2000, ed.
Nicolas Bell, Claus Clüver, and Nils Holger Petersen, Rodopi, Amsterdam-New York, 2004, pp.1-20.
"Music Dramatic Extroversion and Contemplative Introspection: Hildegard of Bingen's Ordo Virtutum", Ritual,
Performance, Culture: Papers by C. Clifford Flanigan, His Students, and Colleagues, ed. by Robert Clark, Auckland:
Wim Husken, (forthcoming).
"Liturgical Drama : New Approaches", Actes du Congrès de la Fédération Internationale des Instituts d'Etudes Médiévales
(FIDEM) à Barcelone, 8-12 juin 1999, ed. J. Hamesse, Louvain-la-Neuve, (forthcoming).
"Danielis ludus and the Latin Music Dramatic Traditions of the Middle Ages", The Past in the Present: Papers Read
at the IMS Intercongressional Symposium and the 10th Meeting of the Cantus Planus, Budapest & Visegrád, Hungary,
2000, ed. Laszlo Dobszay, Budapest: Liszt Ferenc Academy of Music, 2003, pp. 291-307.
“Carolingian Music, Ritual, and Theology” in: The Appearances of Medieval Rituals (2004).
“Introduction” in Genre and Ritual(2005).
“The Concept of Liturgical Drama: Coussemaker and Modern Scholarship” in Barbara Häggh and Frédéric
Billiet, eds., Ars musica septentrionalis (Paris: Presses universitaires Paris-Sorbonnes, forthcoming).
“Baptismal Practices and Understanding in Medieval Nidaros” in: Architectural and Ritual Construction
(forthcoming).
“Ritual and Creation: Medieval liturgy as foreground and background for creation” in: Creations, (forthcoming).
”Representation in European Devotional Rituals: The Question of the Origin of Medieval Drama in Medieval
Liturgy”
The Origins of Theatre in Ancient Greece and Beyond: From Ritual to Drama, eds. Eric Csapo and
Margaret C. Miller, Cambridge: Cambridge University Press, (forthcoming).
”Biblical Reception, Representational Ritual and the Question of Liturgical Drama, Sapientia et eloquentia. Meaning
and Function in Liturgical Poetry, Music, Drama and Biblical Commentary in the Middle Ages, edited by Gunilla
Iversen and Nicolas Bell, Disputatio 11, (Turnhout: Brepols, forthcoming, 2007).
Stockholm the 11th October 2006
Gunilla Iversen
Professor, Project Leader
Department of French, Italian and Classical Languages
Stockholm University
S-10691 STOCKHOLM, SWEDEN
<[email protected]>