Abstract In the centuries following the Norman Conquest, dependent priories – that is, satellite or daughter houses – of larger abbeys were founded in large numbers in England. Some were dependent on mother houses within England; others were the daughter houses of continental, especially Norman, foundations. Both types have been somewhat neglected in medieval ecclesiastical history, as well as in music history. This article argues that not only did some dependent priories in medieval England support musical life, but also in certain situations they could play host to a remarkably creative culture of musical exchange, production and performance. As a case study, it presents extensive new archival evidence concerning the traffic of people, books and music between the Norman abbey of Lyre and its dependent priories in England, proposing that other musical manuscripts may warrant reconsideration in the light of these findings.

ABSTRACT The Office of Compline, sung to plainchant melodies adapted to English words, has become ‘firmly fixed in the Anglican tradition’. Yet, in the absence of a service of Compline in the 1662 Book of Common Prayer, this office was once perceived as a niche Anglo-Catholic devotion. The present article examines how sung Compline became a staple of the English choral repertoire by examining six settings composed during the ‘English plainchant revival’ in the nineteenth and early twentieth centuries. Focusing on the editors’ sources, their methods of adapting Latin chant to English words, and the intended audience for each setting, it shows how successive editions remedied deficiencies perceived in earlier versions in the light of developing scholarship of plainchant and the growing popularity of public services of Compline. While earlier settings relied on medieval and contemporary Catholic sources of Latin chant, the latest imitated the contents of previous English editions, a ‘self-referential’ turn indicating that particular English Compline chants were now seen as part of a standard repertoire. The ongoing popularity of the setting attributed to John Arnold and published by the Plainsong & Medieval Music Society in 1929, issued in a second edition in 2005, shows how music for Compline published around the turn of the twentieth century has now become a musical ‘fixture’ in the English choral repertoire.

Abstract This article reconsiders the polyphonic music fragments used within in an English manuscript copy of Walter of Châtillon’s Alexandreis , now Princeton University Library, Garrett 119. Extensive reuse of parchment characterises this manuscript: in addition to three music rolls, a chronicle roll and multiple account rolls were systematically repurposed to assemble the parchment used as the manuscript’s endleaves and also internally, when some of the rolls were erased and overwritten with the Alexandreis text. Through a close analysis of all these materials, the specific local contexts of the manuscript’s production is considered. The article demonstrates that this occurred in two stages, begun in the early thirteenth century and completed in the fourteenth century. While previous scholarship had located the host manuscript and music fragments in Lincolnshire, a Yorkshire location and a Cistercian institution is proposed here, possibly Rievaulx Abbey, at least for the initial compilation of the host manuscript and the copying of at least one of the music fragments. This opens up new possibilities for a flourishing network of written polyphony in this region.

ABSTRACT The eleventh-century Aquitanian troper-proser Paris, Bibliothèque nationale de France, fonds latin 887 (Pa 887) is a manuscript whose provenance has long been a matter of debate. Five features of its distinctive repertory are considered: (1) a unique relationship with the early tenth-century troper Paris, Bibliothèque nationale de France, latin 1240 (Pa 1240); (2) the inclusion of elements that have links with northern France, not all of which can be accounted for through shared material with Pa 1240; (3) material that has clearly been derived from the repertory at the Abbey of St Martial, Limoges; (4) on the other hand, concordances within Aquitaine, of tropes and proses not performed at St Martial; and (5) material unique to Pa 887. Consideration of the Translation of Saint Valeria in the year 985 to the priory of Chambon, a dependency of the Abbey of St Martial, suggests Pa 887 was produced for that monastic community.

ABSTRACT A newly identified musical source (Columbus, Ohio, Private collection, JP.MS.220, here Ohio 220) was publicised on social media in 2019. Recognising the value of the fragment, our research prioritised establishing its contents and provenance. The single parchment folio contains four polyphonic songs for two and three voices that once sat within a larger collection. Although aspects of the notation and repertoire within Ohio 220 resemble Ars Antiqua or early Ars Nova motets from northern Europe – with which one lyric shares a poetic concordance – our examination of the source’s artistic, textual and musical features supports a provenance within central European devotional culture approximately a century later. The polyphonic songs – not motets, but in the tradition of cantiones – draw on material and notational strategies with a long, pan-European heritage. We present an edition of all four pieces, outlining, in broad terms, the original provenance for the fragment and its music.

Anne-Zoé Rillon-Marne and Gaël Saint-Cricq (eds.), Composers in the Middle Ages, Studies in Medieval and Renaissance Music 25. Woodbridge: Boydell Press, 2024. xxiv + 316pp. £95. ISBN 978 1 83765 035 4. - Volume 34 Issue 2

ABSTRACTEgon Wellesz’s Eastern Elements in Western Chant (1947, repr. 1967) is outdated but topical in that the resemblances he adduced between Eastern and Western chant continue to invite explanations. An assessment of his book and research since then on the topics of simple vs. complex melody, melodic resemblance, historical frameworks, musical communities and Semitic antecedents of Christian chant lead to the conclusion that the comparative study of medieval Christian chant repertories and of Jewish melodies from post-medieval sources cannot be shaped by simplistic assumptions, such as that simpler melodies are earlier or more primitive than more complicated ones, or that Christian practices must have had Jewish origins. Nor can melodies that resemble each other be assumed to be historically related. Studies of oral traditions show that what is transmitted is often a more abstract contour that can be realised in more than one way. Most importantly, no music can be studied apart from the community that makes or made it, and musical evidence must be interpreted within a framework of verifiable historical fact, especially when contacts between different communities are alleged.