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Cluniac Chant Site Report Outline Pre-France  Af. Post-France  Impact of the

Cluniac Chant Site Report Outline Pre-France  Af. Post-France  Impact of the building on the performance of chant Gillingham, Chant and Its Peripheries  “from the musical point of view, one might at least consider carefully the extent to which music inscribed at centres such as Compostela and Saint Martial truly illustrates local practice. In many cases, the styles and customs of the daughter houses likely were heavily influenced by processes at the dominant house in Burgundy.” (243)  “Increasingly from the late eleventh century onward, the monks moved towards a casual application of the Benedictine Rule and a cultivations of artistic opulence of all kinds, in architecture, decorative arts, poetry, music, and manuscript illumination. In other words, they redefined the injunction of St. Benedict for labora. (244) o As Cluniac monks moved towards a more comfortable lifestyle than would be recommended by Benedict, arts and culture were subsequently able to flourish moreso.  Peter the Venerable: “It is more noble to set one’s hand to the pen than to plow, to trace divine letters on the page than furrows upon the fields.” (244) 2  Peter later had to do serious reform to increase austerity under his rule, to fix damage done in time of Hugh  “Cluny maintained one of the largest libraries (much larger than that of Saint Martial in the twelfth century) in Christendom in the Middle Ages. By the time of abbot Hugues III (1156-1163) there were about 570 books at Cluny, including works on science, philosophy, law, dialectic, grammar, medicine, music, mythology, and history.” (246) o If the musical findings and literature at Saint Martial were considered to be musically notable and worthwhile, then one can assume that whatever existed in the opulent and well stacked Cluny library was far superior.  Shit got destroyed though…not very helpful THANKS REVOLUTION  “Just as Cluniac visual arts spared nothing in their luxurious presentation, so poetry and music appear not to have been neglected. In the absence of a substantial corpus of music, one is forced to answer questions about the importance of Cluny through an examination of obliquely related evidence.” (247) o Appendices conserved in the Bibliothèque Nationale indicate that multiple volumes related to music existed at one point. “Of Note are the following: No. 290 – contains “versibus, rhythmis, hymnis, prosa et cantu,” No. 414 “Volumen in quo contintentur Cantica canticorum glossata, rationes et definitions VIII tonorum, et duo libri de musica.” (No. 412 is similar); No. 483 – Augustine, “de musica, rithmo et metro”; No. 545 – Ovid, “de arte amatorial et remedio amoris, et ille de exilio, habens in fine Avianum”. (247)  “We might look beyond Paris for further material, but other French libraries do not have much from Cluny either. Recently Michel Huglo has surveyed the existing musical manuscripts which might be called Cluniac, 3 but most of them are copies from satellite monasteries. Since it is clear that one of the principal activities at Cluny was music making, it is simply not credible that the monophonic and polyphonic repertories are adequately represented by surviving fragments, copies and non-musical sources.” (250) o Many standard chants listed in writings that survived, so it is assumed that music was integral to the rites, and were available in manuscripts.  Due to the extravagance of Cluny, these manuscripts would have been abundant in supply  Monks went through an evaluation period upon professing to abbot based upon musical abilities and divide into two groups o “The professed monks were divided into two kinds: cantors and conversi, “those who had learned how to sing and those who did not know how to sing.” When they were professed the abbot would decide whether a monk should be a cantor or join the conversi. The latter would have to content hemselves with the less important roles of candle-bearer or thurifer.” (251)  Positions of precentor/armarius are indicative of importance of music in monastic structure due to responsibility afforded. o “It is clear that the precentor/armarius had extensive responsibility and power in the monastic structure. He controlled every aspect of music; reading and even dress code in the monastic observance. Primary duties were to determine who did the singing and how the performance should be effected:” (252)  Cluniac Monastery prioritized the development of cultural work, including secular pieces of both poetry and music o “The Dialogue confirms that various activities and opportunities for creating sacred and secular lyrics existed in the Cluniac regime. Poetry was important enough to be considered a 4 replacement for the manual labour decreed in the Benedictine Rule.” (253)  Dialogue refers to the Dialogue between a Cluniac and Cistercian [Dialogus duorum monachorum, a tract documenting and criticizing aspects of Cluniac life  This tract is especially helpful in that it indicates what life was like for the Cluniacs in contrast to the Cistercians, with a focus on the opulence of all forms of art in the day. Extensive instructions existed regarding music-making in Cluny, indicating that music was an indispensable part of monastic life at Cluny. Reinert Call ◦ Ferreira is definitely gonna be my primary source of information ◦ Think it will be good to start by understanding Gregorian Chant as a musician and scholar 5 ◦ Have been attempting to teach myself how to sing it, since that is the best way I can understand it. ◦ Like a harder version of anglican chant, but the instructions are pretty clear once you have the flow ◦ I’ve gotten two books from the library by Bryan Gillenham ◦ One titled, “Music in the Cluniac Ecclesia” ◦ Yet to read…could be promising ◦ The second is “Chant and its Peripheries”, has a chapter surrounding Cluniac Chant titled “The Centrality of the Lost Cluniac Musical Tradition” ◦ I’ve started reading the article and it seems interesting, the author is arguing that although little record remains from Cluny, it was very significant in the development of spiritual chant and as a musical venue Plan: ◦ learn how to read Gregorian Chant - pretty much there ◦ understand vocabulary and language used to describe chant in the time ◦ Get through Saulnier reading on Gregorian Chant as a whole to understand the more common type ◦ Dive into Ferreira’s dissertation and understand differences in Cluniac Chant ◦ Play with Gillenham’s thesis that Cluny was significant a musical venue and place of development What does an End Product look like? ◦ How long will it be? ◦ 10 pages of an overview report of what I’ve learned about my subject ◦ Some references ◦ What do we know about Cluniac Chant? What have I discovered? How can I relate it to the ongoing tradition and reflection/reverberation of this? ◦ Osteopath (fancy chiropractor) who likes to sing, Reinert goes to her in France. There is a group nearby that participates in the plainsong chant. Are there any performances of chant in the abbey that we know of? This is the connection between modernity and the past. ◦ Where is the focus? ◦ Compare/Contrast Gregorian and Cluny Chant ◦ Analyze significance of Cluniac Chant ◦ Run with Gillenham’s thesis that Cluny was a historically significant musical location and breeding-ground for artistic creativity uploads/Litterature/ cluniac-chant-site-report-outline 1 .pdf