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" A chant for Feasts of the Holy Cross in Jerusalem, Byzantium, and medieval Europe "
R. Dubowchik
K. Levy
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Latin Dissertation
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| Language of Document
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English
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| Record Number
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1113002
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TLpq304083356
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| Main Entry
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K. Levy
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R. Dubowchik
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| Title & Author
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A chant for Feasts of the Holy Cross in Jerusalem, Byzantium, and medieval Europe\ R. DubowchikK. Levy
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| College
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Princeton University
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| Date
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1993
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| student score
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1993
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| Degree
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Ph.D.
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| Page No
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198
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| Abstract
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The Latin antiphon Crucem tuam adoramus domine has long been recognized as a borrowing from the Greek church. Several studies have examined its relationship with one or the other of two Byzantine liturgical texts, Tousd\nuusd usd\pi\rho o\sigma \kappa\upsilon\nu o\\upsilon\mu\epsilon\nuusd usd\delta\acute\epsilon\sigma\pi o\tau\alphausd and 'Ausd\nu\acute\alpha\sigma\tau\alpha\sigma\iota\nuusd usd{\rm X}\rho\iota\sigma\tau o\\upsilonusd usd\Theta\epsilon\alpha\sigma\acute\alpha\mu\epsilon\nu o\iota,usd but only the most recent discussions have considered both Greek texts as models. While knowledge of variant recensions of Crucem tuam has increased, a clear distinction has not been maintained between the Old Roman chant and a version localized in the area that was the Frankish kingdom prior to Carolingian expansion. This study is the first to consider five distinct Latin recensions, the historical development of the Greek texts cited as models, and related chants in Georgian, Armenian, Syrian, Coptic, and Ethiopian sources that expand the historical, liturgical, and musical scope of the tradition. Chapter one introduces the chants and their sources. Chapter two traces the early use of Tousd\nuusd in Jerusalem, Syria, and Byzantium, and examines the role of Crucem tuam in Frankish and Italian ceremonies for the veneration of the cross as it relates to Eastern practices. Chapter three argues that the text of 'Ausd\nu\acute\alpha\sigma\tau\alpha\sigma\iota\nuusd usd{\rm X}\rho\iota\sigma\tau o\\upsilonusd was compiled from pre-existing elements, including an acclamation that was also the basis for Tousd\nuusd The precise relationship between the Greek and Latin texts is examined, and a new model is proposed for the Gallican version. Chapter four describes the melodic structures and variants of the Eastern and Western traditions. Chapter five attempts to reconstruct the oral tradition of Crucem tuam. Corresponding to the core translation of Tousd\nuusd the Latin recensions share melodic features which belong to a formulaic, psalmodic practice that pre-dates the Carolingian modal reform. This musical structure may have provided the vehicle for oral transmission of the melody during the formative phase of the five Latin recensions. It was subsequently elaborated and expanded in accordance with regional styles, while in Rome a deliberate revision of the Gallican melody was made using a local melodic formula that had some of the same features.
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| Subject
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Communication and the arts
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Middle Ages
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Music
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Philosophy, religion and theology
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Religious history
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Social sciences
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